Curated by Nicolas Bourriaud, this year’s Istanbul Biennial is titled ‘The Seventh Continent’, in reference to the vast mound of plastic waste in the ocean, and asks us to think about the anthropocene, climate emergency, and the end of the world or the beginning of a new one. Helen Nisbet reports.
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Anna Berry continues her reflections on a curatorial residency at Midlands Arts Centre, in partnership with DASH. In this piece – co-published with Disability Arts Online – she gets her hands dirty and starts to learn some of the tricks of the trade.
In the first of a series of articles co-published with Disability Arts Online, artist Anna Berry writes about becoming DASH curator-in-residence at Midlands Arts Centre.
Inspired the writings of Italo Calvino, the ‘Six Memos’ exhibition in Liverpool brings together 20 artists from 12 European cities in the CreArt network. As Brexit draws nearer, Martin Hamblen reflects on its cruel asymmetry.
Organised by Keep It Complex, the recent Make It Work event in London brought artists and other cultural workers together to talk about how individuals and groups can empower themselves to get things done in Brexit Britain. Julie McCalden reports.
This year has seen the culmination of the artist’s House of Doors project, exhibited at Westminster Hall in the UK Parliament, marking 100 years since some women were first able to vote in the UK.
Robert Leckie moved to Bristol’s Spike Island earlier this year after nearly a decade at Gasworks in London. He looks back with pride on an exciting and eventful 2018.
The Glasgow-based artist was nominated for the Jarman Award this year, had solo presentations at Glasgow International and Frieze London, and was featured in the New Museum triennial, ‘Songs for Sabotage’.
The London-based artist’s solo exhibition at Gasworks earlier this year featured a sound work described as “a black queer algorithm across generations, locations and political affiliations”. Here Ifekoya answers our end-of-year questionnaire with a playlist of six tracks.
Helen Cammock on a year of professional highs and huge personal loss that has also been a time for reflection and thought about her life and artistic practice.
The Montserrat-born British sculptor Veronica Ryan has had a lively year marked by an important residency in St Ives, a first trip to the Caribbean since she was a child, and in November being announced as the third recipient of the annual Freelands Award for women artists.
A recent event at MAC in Birmingham brought practitioners and curators together to interrogate ‘the (in)visibility of disabled artists’. Anneka French reports on a productively critical discussion.
This year’s Engage conference in Manchester brought together educators, curators, researchers, artists and policymakers to discuss the diversity of approaches to arts and health – both physical and mental – in current practice. Artist and writer Alistair Gentry reports.
Hosted by Eastside Projects in Birmingham, over two days the recent Artist Run Multiverse Summit brought together artists from a wide range of projects and organisations to consider the past, present and future of the artist-run sphere. Lydia Ashman reports.
For the final Assembly event in the current series, a-n was in Cardiff for a day of discussion and debate around how to survive as a creative practitioner. Trevor H. Smith reports.
The latest in a-n’s series of artist-organised events explored the challenges and advantages of physical outposts for a sustained artist-led practice. Robyn Woolston, herself based in the rural outpost of the Cairngorms National Park, reports.
At the conference ‘Pivotal Moments: Professional Development Models for Mid-Career Artists’, staged by London Creative Network (LCN) in association with a-n, participants including artists Keith Piper and Erica Scourti, and Wysing director Donna Lynas discussed career development and the importance of institutional support for artists. Lydia Ashman reports.
The recent ‘Hope to Nope’ exhibition at The Design Museum ended in controversy earlier this month when artists and designers removed their work in protest at the museum hosting a private hire event by an arms manufacturer. One of those activist groups to remove their work was the artist-run organisation Keep It Complex, who share here what they learned from the experience.
A group of 27 artists and art lecturers are taking the National Gallery to tribunal following their dismissal last year, in a bid to prove that they were employees rather than freelancers. ‘NG27’ member Richard Stemp argues that the case has important implications for all artists and those working in the arts.
A much-loved and admired member of the a-n team, digital manager Eleonora Schinella died on 5 August after suffering from a rare bone tumour. She will be greatly missed.
When artist and writer Alistair Gentry first shared his experiences of depression earlier this year it resulted in a flood of private feedback and led a-n to commission a series on artists and mental health for our Resources section. Drawing on the conversations he’s had with artists and arts workers, he argues for more openness about mental illness and wellness in the arts.
To mark the end of her time as the 2017-18 Clore Visual Artist Fellow, an initiative supported by a-n, Nicola Naismith presents an A-Z of what the year-long experience has taught her about leadership and being an independent artist.
At the recent Jamboree 2018 event on the Dartington Estate in Devon, the London-based German artist Rosalie Schweiker presented an improvised slide show about the difference between being a conventional ‘sausage’ artist and a hard to pigeonhole ‘mince’ artist. Here she turns that talk into a short explanation of her thinking – with added drawings of sausages, mince, and mince-based products.
Taking place on the idyllic Dartington Estate in Devon the a-n-supported Jamboree 2018 brought together 150 artists, curators and programmers from across the UK for lively discussion and the exchange of ideas. Hannah Pierce, a-n’s external programmes and partnerships manager, shares the key things she learnt from the event’s four days.
Following a call-out asking artists to submit their ‘preparations, patterns, neuroses, speculations, and procrastinations that surround the production of art in the studio’, the four-day Inventory of Behaviours event at Tate Modern saw these submissions turned into instructions that were carried out by volunteer artists, students and members of the public. Trevor H. Smith explores the value of the transitional space between not making and making art.