[-empyre-] Models and Perspectives for Media Centers and Net Art
organizations
Sarah Cook
sarah.e.cook at sunderland.ac.uk
Wed Aug 6 07:44:07 EST 2008
Hello Empyre,
Thank you for having me this month -- CRUMB and Empyre have been
meaning to join forces on a topic for some time now and it is nice
that CRUMB's current research partner, Eyebeam, where I am currently
based as their curatorial fellow, has been the catalyst. Sorry I am
late in posting an introduction, but this is just to keep in the game
as I read the posts so far...
For those who don't know me so well, or indeed know CRUMB, I am a
curator and post-doctoral research fellow, at the University of
Sunderland, and from there curate exhibitions and projects in
partnership with other venues, much in a way that a freelance or
independent curator would, but with the gracious backing of my
research position (itself an interesting model of funding). CRUMB (a
research unit at the University of Sunderland) was founded in 2000 by
myself and Beryl Graham, for curators grappling with new media to
talk to each other and learn from the experiences of others. We host
an emailing list (800+ international members), also with topics of
the month, and a website, with interviews, documentation and
transcriptions of seminars, conferences and workshops we have
organised, and the like. Beryl recently returned from ISEA 08 in
Singapore where CRUMB hosted 'Blissful Dialogues' which brought
together new media practitioners with those from the field of visual
art to discuss common strategies for presenting work.
My curatorial practice is very collaborative, mostly because I am
often 'on-loan' or 'embedded' in an organisation which is not my own,
in order to realise a project. For instance, I have co-curated
exhibitions on behalf of the Banff New Media Institute at the Walter
Phillips Gallery in Canada, with curators who were both staff and
guest curatorial fellows there, on thematic concerns or archive-based
initiatives; I have co-curated exhibitions in smaller 'media-
specific' venues, such as the Edith Russ Haus in Germany, which in
addition to having an exhibition programme also supports artists
through stipends and residencies; I have co-curated exhibitions for
festival situations, such as AV 08 in Newcastle, which have then gone
on to tour, beyond the life of the festival, to other partner venues;
I have commissioned work for mainstream visual arts venues, with and
without collections, where my project has often been the point of
first contact for that institution to the world of new media art.
At Eyebeam I am learning what it means to curate within the context
of a new media lab... or three labs to be more specific: the research
and development Open Lab, the Production lab, and the Education lab.
While I am tasked with concrete curatorial outcomes on the Eyebeam
side of the research partnership, on the CRUMB side I am tasked with
transfering knowledge as to what it means to be curating new media
art in or from a lab rather than in the more traditional gallery
context.
Given this varied experience, of the topic that Empyre hopes to cover
this month, I think I can speak most intelligently on "how local
scenarios alters the dynamics of institutionalization, according to
the predominance of more public oriented models (public grants,
government support) or, on the other hand, more private oriented ones
(sponsorship)"
The example I always like to bring up though, which is a sideways one
from my day-to-day new media art related work, is that of the Star
and Shadow cinema in Newcastle, of which I am a volunteer/sometime
programmer. The Star and Shadow was hand-built, by volunteers, with
donated and recycled materials, in a warehouse building with five
years left on its 100 year lease. All the programming takes place on
a wiki at at monthly consensus-based meetings (where sometimes
proxies attend in place of a remote programmer to explain and discuss
the proposed programme). The programme is varied - new media artists
such as Cory Arcangel have performed there alongside the best Hindu
films you've ever seen screened with live soundtrack. Sometimes the
audience is 3, sometimes 73, sometimes 203. The venue has an
exhibition space, a bar and gig-space, a meeting space and 'lab' in
addition to its 80 seat beautiful cinema (with all forms of
projection except HD digital). Money made from gigs/event rentals and
the bar goes to cover necessities like heating and electricity, but
no one is paid to be there or work there. The Star and Shadow
functions much like a co-op, but slightly more anarchic -- we are
always asked if we have a 'volunteer coordinator' but we don't, which
frustrates a lot of the agencies which seek to place volunteers in
organisations but want someone to be 'managing' them. We also
occasionally risk losing relationships with film distributors who get
annoyed that every time they phone the office someone different
answers, and every time the courier drops off or picks up a film,
someone different is at the door. Not having a paid office manager or
organiser (or print-traffic coordinator) seems to be the most radical
aspect of our daily workings. At one point the expression "Star and
Shadow" was shorthand, in funding circles in the north of England,
for a 'blue sky' idea that might never come to pass, but it has now
become shorthand for an idea whose economics are outside the box, off
the chart, somehow other to the norm of public funding, and that
could be a good thing.
I look forward to discussing more, in relation to what I am learning
here at Eyebeam also, as I continue to read the introduction and
notes from others on the list.
Sarah
links:
www.broadcastyourself.net
www.crumbweb.org
www.eyebeam.org
www.starandshadow.org.uk
> I will stop for now because there are other things that I wish to
> discuss in more detail, such as sustainability, ecology,
> collaboration, claiming the cultural interface and more...I will
> also get back to some of the other questions that Marcus has asked
> me later. And I also want to respond to other contributions so far :-)
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