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Edoardo Malagigi questions the meaning of title of this year’s biennale.

Graham Parker on the reasoning behind Manchester’s presence at this year’s biennale.

Venice is historically a meeting point of east and west. It was from here that Marco Polo journeyed to China. Its wealth and power – and hence its accumulation of art treasures – is built on the control of trade […]

This year’s Venice Biennale sees the first separate national presentations from Wales and Scotland. Gordon Dalton and Graham Ramsay preview the two country’s contributions.

An abridged version of Dany Louise’s follow-up report on small visual arts organisations cut by Arts Council England, six months after her ‘Ladders for development’ enquiry. She asks: how have these organisations fared and what do their futures hold? Read the full version of this report with updates on all surveyed organisations: www.a-n.co.uk/realising_the_value

This month sees the culmination of a two-year project at Siobhan Davies Dance, one of the country’s most distinctive dance companies. Choreographer Davies has paired dance artists with visual and applied artists to bring their creative practices together and create new works ranging from performance to film and installation. The commissioned dance artists are Henry Montes, Sarah Warsop, Gill Clarke and Deborah Saxon who are partnered respectively with Marcus Coates, Tracey Rowledge and Lucy Skaer. Henry Montes and Deborah Saxon have also made a piece together with Bruce Sharp. Here, three of the visual artists relate their experiences.

Current professional development support schemes for visual artists in the UK.

Funding for the arts has never been an easy sell – not with governments or the public. April Britski, Executive Director of CARFAC reports from Canada.

On 30 March, Arts Council England announced the winners and losers in the new National Portfolio Organisations (NPO) for funding 2012-15. Here’s a-n’s take on what’s happened, the likely impact on artists, independent arts professionals and the arts ecology as well as highlights from some of the many comments and discussions that are in train.

Thoughts from artists and arts professionals about how cuts in public spending will affect their future working pattern. Plus April Britski gives an account of how recent governmental decisions to cut arts funding have affected Canadian artists.

Chantal Powell, Siren, bird cage, metallic.

A guide to career development and training opportunities as well as related services and resources that are designed to help artists take their practice to the next level.

The most versatile of artforms, art in the public realm includes permanent works as well as temporary installations and architectural manifestations. The appetite for such work has been enhanced through the Big Art Project that enabled communities themselves to make the running for art projects and nurtured their ambitions and narratives over four years. A record one million viewers were attracted to the resulting Channel 4 programmes broadcast in May.

Beacon co-director John Plowman and artist Kelly Large discuss the project ‘Our Name is Legion’.

With half the UK’s population residing outwith urban conurbations, and regional and arts and cultural policies prioritising local engagement, locations often regarded as countrified are strategically raising their art world profile through imaginative programmes and project.

Highlighting digital and new media commissions, exhibitions, research and resource developments.

Catherine Wilson addresses three collaborative projects by Rio de Janeiro-based Mauricio Dias and Walter Riedweg who develop works with communities and social groups often on the edges of mainstream society.

Emilia Telese’s opening essay offers analysis of the markets for art in the UK highlighting the ‘contradictions and idiosyncrasies’ of the relationship between artists and money,

Kate Walters, I can’t hear you (detail), watercolour, gouache, oil and graphite on shellac, 2006.

Sally O’Reilly’s contribution to ten two zero zero five, a-n Collections.