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Emilia Telese on ArtSway’s residency programme.

Dany Louise reports on the Urban Ecologies seminar in Liverpool, and highlights recent projects which have successfully engaged with urban issues whilst balancing artistic aims and community involvement.

Alicia Miller considers the relationship between artist and curator in collaborative projects.

Simon Webb talks to artists from across the UK about drawing and its place within their practice

Lars Bang Larsen’s discussion of visual art extends beyond new sites and contexts to ask questions of how art meets the idealogical spaces of politics and mass media – and how behaviour has become aesthetic.

Illustrating the approach she brings to her new role at [a-n], Gillian Nicol highlights some of the challenges and opportunities for artists and their practice today, looking broadly at education and employment, status and lifestyle and the impact of widening access to technology.

Penelope Curtis explores how ‘installation art’ has affected our readings of art, artists and curators.

Heather Rigg reports on a professional development scheme in Suffolk that provides a package of support for artists in that region.

New Delhi isn’t an obvious destination for visual arts practitioners. However, as Judith Staines discovered, scratch the surface and a more interesting picture starts to emerge.

“Imagine an ecological city, where communities are based on voluntary cooperation not competition, mutual aid not private profit, cultural diversity not globalised monoculture, permaculture not consumer culture”.¹

Working internationally, and how this informs an individual artist’s practice, need not only be about physical travel. Gavin Wade and Aleksandra Mir give personal assessments of their involvement in two different projects. Both projects are ongoing, constantly evolving, and involve a process of research and collaboration with individuals and organisations from different countries. The results of this methodology – the surrendering of a degree of individual authorship – influences the physical manifestation of each artist’s final work.

Brigid Howarth investigates the multifaceted business of buying and selling in the corporate art market.

Jose Ferreira introduces us to artists’ imaginative use of technology and its relationship to urban space.

David Butler reports on the current crop of ground-breaking collaborations between art and science that are giving artists the time to undertake sustained, open-ended research without the expectation of a specific outcome.

Site-specificity and community involvement might be buzzwords for attracting funding bodies, but they are no guarantee of project success. Emma Safe visited Swansea for this year’s Locws2 to find out how they tackled some of the issues.

Emilia Telese reports from the ‘screaming independent art scene’ in Tuscany.

Tom Burtonwood provides an overview of the artist-run scene in the Chicago.

In the first of a six-part series ‘Inhabited spaces’, Alice Angus presents artists’ perspectives on language and its relationship to place.

Every summer the spotlight falls on Norwich and ‘East international’. Arguably the most prestigious open submission exhibition in the UK, curators, dealers and others visit from far and wide and many of today’s well-known artists launched their careers as a result of participation in ‘East’. But what of the artists for whom the city is home? Paul Stone visited Norwich to find out more.

Julie Read gives an account of her experience on a residency in the Austrian capital.

Brigid Howarth investigates ways in which artists are making work and collaborating with industry.