Brexit - a-n The Artists Information Company

Poster by Perry Hoberman, available from https://www.haironfire.org/free-images-1/
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Midwestern blues: Trump, a polarised America, and the curse and opportunity of ‘interesting times’

As Washington DC prepares for the 20 January presidential inauguration and the rest of the world is gripped/appalled by the latest predictably narcissistic Donald Trump Twitter outburst, London-based artist Sonya Dyer – who was on a residency in Nebraska during the election – reflects on her US experience and considers what the new era means for art and artists.

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Mia Frostner and Rosalie Schweiker, You Brexit You Fix It, 2016
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Artists respond to Brexit: “It’s important to make a stand, to be direct”

With scrutiny of the government’s Brexit plans intensifying as Theresa May’s end of March deadline for triggering Article 50 to leave the EU gets nearer, artists are responding to the uncertain climate in a variety of ways. Pippa Koszerek, who as an artist is herself involved in Brexit-related events, takes a look at some forthcoming projects.

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Frances Morris, Director, Tate Modern
Photo: Hugo Glendinning 2016
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2016 – How was it for you? #1: Frances Morris, Director, Tate Modern

This year saw Frances Morris become director of Tate Modern and in June the gallery’s £260m extension, The Switch House, opened to positive reviews. She reflects on what has personally been an “amazing year” while lamenting a period in which “respect for difference and individuality” has been vigorously attacked.

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Paloma Proudfoot and Aniela Piasecka, performance of Made To Be Broken as part of the Platform exhibition at Edinburgh Art Festival 2016.
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2016 in view: “Out of the messiness came solidarity and collaboration”

a-n’s Executive Director Jeanie Scott reflects on an incredibly busy year for the organisation that has seen the publication of the Paying Artists Exhibition Payment Guidance, wide-ranging support for artists through a-n bursaries, and membership reach a record high. And, despite an increasingly messy global situation, says there’s much to look forward to in 2017.

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Blog Post

Becoming a Duality

At a few minutes before 3:22pm (central European time) yesterday I put my British passport along with the printed and signed copy of my online application for Swedish citizenship in to the post. Yesterday marked five years, to the day, […]

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Agnieszka Tarasiuk Photo: © Filip Skronc (http://filipskronc.com)
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Brexit, Poland and the visual arts: “We will find ways to continue to work”

With a long and close relationship between the UK and Poland stretching back over generations, and an estimated 800,000 people born in Poland currently resident in the UK, what is the Polish view on Brexit and its implications for the visual arts? Emma Sumner talks to Polish artists, curators and visual arts professionals to find out.

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a-n members EU referendum survey: “The impact of Brexit has been immediate”

Following the result of the EU referendum in June, a-n’s member survey was a chance to get a sense of how Brexit might affect visual artists. Dany Louise highlights some of the survey findings including examples of how the decision to leave the EU is already affecting members who regularly work, exhibit or apply for opportunities in Europe.

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Stratford Waterfront, part of the new Cultural and Education District at Queen Elizabeth Olympic Park. Photograph: Queen Elizabeth Olympic Park
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In Brief: other news this week

A weekly briefing featuring national and international art news, including: Photographer files $1 billion suit against Getty and Alamy, Orlan loses plagiarism suit against Lady Gaga, and Creative Scotland warns Brexit may limit RFO funding.

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Photo: © European Union 2016 - European Parliament".
(Attribution-NonCommercial-NoDerivatives CreativeCommons licenses creativecommons.org/licenses/by-nc-nd/4.0/).
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Post EU referendum: enabling conversations or the flight of cultural capital?

We asked artists, arts organisers and writers to comment on how leaving the EU might affect culture and creativity in the UK. Here, writer and researcher François Matarasso, mima’s Alistair Hudson, Katrina M Brown of the Common Guild, Modern Art Oxford director Paul Hobson, and artists Haroon Mirza, Joseph Young and Gordon Shrigley give their views.

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