International - Page 27 of 29 - a-n The Artists Information Company

Sofie Sweger reports on ‘Space/Traffic’ an international symposium of artist-run spaces and organisations that took place in Hong Kong last December.

This month sees the second leg of an international project in Edinburgh. ‘Art in the Home’ will involve artists installing their work in private residences across the city. Here Paul Carter, shares his experience of the first leg of the project in Yamaguchi, Japan.

Joanne Lee discusses the evolution of communication and collaboration strategies with Flasch – a group of artists working across northern European countries.

In the summer of 2001 Philip Kennedy travelled to Tuscany as a recipient of a Juliet Gomperts Memorial Trust award.

The Kamiyama artist in residence programme (KAIR) was established in 1998 by local businessmen, and is supported by schools and cultural institutions, to bring creative energy to a rural community with few cultural resources. Robin Dance gives an account of his participation in the programme in 2000.

Graham Ramsay reports on the artscene in Canada’s largest city.

Sophie Scott reports on her experience of the different attitudes and approaches to education initiatives in the arts in the USA.

Two years ago artist Betsy Tyler Bell invited a group of English artists to live and work in her house in southern France. Participating artist Helen Ganly, describes how last summer’s project culminated in a successful month-long exhibition.

In October I visited the Sixth Art Forum Berlin as a one of ten artists exhibiting with Edinburgh’s Collective Gallery. All the artists (Beagles and Ramsay, Paul Carter, Kate Gray, Billy McCall, Lynn Lowenstein, Kirsty Whiten, Michele Naismith and James […]

Once again the Istanbul Biennial opened at a time of extraordinary difficulty. In 1999 the event only just survived the city’s devastating earthquake, whilst the recent backdrop was an explosive economic crisis and the imminent war in the (uncomfortably) Near East. But, as Kevin Dent reports, from this unpromising background the biennial emerged as a triumph offering the city something to celebrate and enjoy.

John Plowman profiles KÜnstlerhaus Schloss Balmoral, one of about a dozen such institutions in Germany offering residencies to international artists.

Roxy Walsh, recipient of the Abbey Award in Painting, gives an overview of her time at the British School at Rome (BSR).

A new artist-initiated event took place across Hull during September. Here, David Briers explores how the event fits into the city’s existing arts infrastructure and discusses some of the national and European links it generated.

Rick Faulkner, artist and director of Chrysalis Arts, outlines the international ‘Artists in Transition’ project and how it adapted to the change in circumstances imposed by the outbreak of Foot and Mouth.

Brigid Howarth takes a look at artists’ communities in the USA.

There is a long history of placing contemporary art in remote and rural locations as a method of encouraging tourism. The sculpture trail is now an established form of presentation. Here, Victoria Bernie – an artist based in Edinburgh – describes her participation in a small-scale project in Sweden and Public Art Officer Piers Masterson gives his view on the history and public reception of a much larger project spread across northern Norway.

A regular visitor to Italy since 1981, when Alan Rogers moved there on a more permanent basis his “youthful, romantic love affair” with its warm Mediterranean light was soon replaced by the realisation that day-to-day conditions for contemporary artists were far from ideal.

Julia Dogra-Brazell reports how showing in Israel gave her a new perspective on her own work.

In his opening speech at the International Ceramics Festival in Aberystwyth, Garth Clark, owner of the Garth Clark Gallery in New York, remarked on the way potters tend to “herd together” not, he emphasised, like distracted lemmings, but like caribou, moving with a purpose towards their goal.

Art has always had the ability for convergence and understanding amongst people, irrespective of language barriers. Internationalism in art is that space that transcends fixed geographies, identities and positions to create a new coherence from diverse dialogues. As an artist […]