Finally we have arrived to the day when the exhibition is ready and everything is prepared for opening, rather of a biased comment on the show as we were very parts of the preparation I rather would like to tell the activities which can be linked to the final output of the exhibition-planning/creation.
Preliminarly to the opening we were more concerned with the followings (simple WBS):
- find a place to exhibit
- invitation cards
- tags for the paintings
- installation of paintings/opening venue
- catering
- getting an artist to play on the opening
- invitation of (local)press
- writing speech for the opening ceremony
and ensure cosy atmosphere for the guests at the opening, taking visual documentation of the event(photos:).
As for the former expectations all the attandance, installation and management of the process went smooth and well-coordinated.
Sunday, 9 May 2010
Installation
In the Jókai Klub, which is the final location to the exhibition for Cornides Ágnes' paintings, a cosy atmosphere has welcomed us as we have aproached the local community centre of the XII.th district in a hilly-wooden area of the city. The location provides only in itself a pictorial sorroundings for the event.
Inside, there were two rooms available for exhibiting the works, each of them a fairly large space to be filled. Aproximatelly 80-100m2, with mostly unbroken wallspaces.
The concept was systhematic and thus periodic as well, bacuse the works were grouped from the artist's different periods and this meant a change in message and in the type of the works as well. From the introverted period trough memories the final and mature abstract art was available and used for the exhibition.
The rooms were well lit and lights were available on the ceiling and adjustabele to the walls troughout the entire space available on display, hooks and hanging rails were installed.
The hanging of the pictures were not that easiy though, because there were some works on ply-wood boards which could only be hanged with additional suport and nailing in the works themselves, but eventually it was possible to adjust them to the local hanging system. Less, we wold face the question of alternative sources for installation, such as tile adhesive which is a really lasting and even longer lasting experience at deinstallation;) Fortunatelly, neither the walls, nor the pictures were damged at the set up of the next day show:)
Inside, there were two rooms available for exhibiting the works, each of them a fairly large space to be filled. Aproximatelly 80-100m2, with mostly unbroken wallspaces.
The concept was systhematic and thus periodic as well, bacuse the works were grouped from the artist's different periods and this meant a change in message and in the type of the works as well. From the introverted period trough memories the final and mature abstract art was available and used for the exhibition.
The rooms were well lit and lights were available on the ceiling and adjustabele to the walls troughout the entire space available on display, hooks and hanging rails were installed.
The hanging of the pictures were not that easiy though, because there were some works on ply-wood boards which could only be hanged with additional suport and nailing in the works themselves, but eventually it was possible to adjust them to the local hanging system. Less, we wold face the question of alternative sources for installation, such as tile adhesive which is a really lasting and even longer lasting experience at deinstallation;) Fortunatelly, neither the walls, nor the pictures were damged at the set up of the next day show:)
Trafó
At first the name: Trafó sounds familiar to every student in Budapest, because I'm sure that who is out sometimes in the cultural or club life of Bp. and reads Exit or Pesti Est has seen ads for programmes there. But what is really beyond the name, is it only a place where people go out and some exhibitions are organised (as the common man (student) would think of this place).
Not really, indeed Trafó bares a historical past and could tell many stories if the walls didn't only had ears;)
After having abandoned the 9th district transformator-building because of the expansion of Budapest's electric network, quite some pioneers (mainly artists) thought that the rusty and shaggy transfrmator house, standing alone in one of the easy going and mainly labour-workers occupied area of the city, would give shelter and serve as a place both to live and create their artworks. Nearby the rental costs were low, so artists could afford to rent flats for living near to the spontaniously developped artistic centre.
Later on the spontanity has been transformed by the local government into a corporate effort to create an (alternative&contemporary) artistic centre for Budapest and for the 9th district.
In essence, the organisation of the international event: World Expo have given the chance for refurbishment and total renovation of the building. Thus Trafó was (re)born as a complex art-house representing the cultural life of Hungary and the Central European region as well.
As an absolute part of the art centre a theatre serves the publication of contemporary plays in ballet, experimental dancing etc. The ticket sales are brought online and school groups are involved in this sort of artistic niche.
Besides the theatre, there are rehearsal rooms located in the building for bands. The most known part of the building is the club, located in the basement which hosts various dance events and parties. Next to the club there is an exhbiton room, which has fostered an exhibit by minority artists at our visit showing the cultural differences, perceptions and their reflections on the current political and social changes.
All in all, with the kind presentation of the Trafo personell and the deep descreption of the local and non-local missions troughout the operational study it was a meaningful and educative experience.
Not really, indeed Trafó bares a historical past and could tell many stories if the walls didn't only had ears;)
After having abandoned the 9th district transformator-building because of the expansion of Budapest's electric network, quite some pioneers (mainly artists) thought that the rusty and shaggy transfrmator house, standing alone in one of the easy going and mainly labour-workers occupied area of the city, would give shelter and serve as a place both to live and create their artworks. Nearby the rental costs were low, so artists could afford to rent flats for living near to the spontaniously developped artistic centre.
Later on the spontanity has been transformed by the local government into a corporate effort to create an (alternative&contemporary) artistic centre for Budapest and for the 9th district.
In essence, the organisation of the international event: World Expo have given the chance for refurbishment and total renovation of the building. Thus Trafó was (re)born as a complex art-house representing the cultural life of Hungary and the Central European region as well.
As an absolute part of the art centre a theatre serves the publication of contemporary plays in ballet, experimental dancing etc. The ticket sales are brought online and school groups are involved in this sort of artistic niche.
Besides the theatre, there are rehearsal rooms located in the building for bands. The most known part of the building is the club, located in the basement which hosts various dance events and parties. Next to the club there is an exhbiton room, which has fostered an exhibit by minority artists at our visit showing the cultural differences, perceptions and their reflections on the current political and social changes.
All in all, with the kind presentation of the Trafo personell and the deep descreption of the local and non-local missions troughout the operational study it was a meaningful and educative experience.
Saturday, 24 April 2010
Create an Exhibition for a contemporary artist: Cornides Ági
The visit of Ági, a contemporary painter, was a memorable point in arranging exhibitions, as we could see from the beggining as an artwork reaches publicity, gets exhibited.
The first step however is not dealing basically with the works, but getting to know the artist, her persona, style, general viewpoint, little stories and all the aspect that might could influence the artwork and the show of the works. The analysis and the get to know of the artist helps for the (exhibition) organiser/curator to provide extra information on the works and improove the experience of the visitor.
Besides, the perosnal information we also could gain a troughout overview of the artist's portfolio, all the remaining works that can be exhibited. Or in case of an artists, who has sold most of the works, the history and the background information/ownership of the works can be discovered easily and precisely.
In case of Ági and her exhibition, we I guess have the opportunity at an exceptionaly interrsting and an important milestone in her artistic life period, when her works get matured, transformed into stable concepts and reach the lucid stylistic forms via experiments. As she is at the begginning of her maturistic period, she could show retrospectively the periods her art went already trough and we can create a time&topic based installment from her works. Installation and the exhibition:Coming Sooon:)
The first step however is not dealing basically with the works, but getting to know the artist, her persona, style, general viewpoint, little stories and all the aspect that might could influence the artwork and the show of the works. The analysis and the get to know of the artist helps for the (exhibition) organiser/curator to provide extra information on the works and improove the experience of the visitor.
Besides, the perosnal information we also could gain a troughout overview of the artist's portfolio, all the remaining works that can be exhibited. Or in case of an artists, who has sold most of the works, the history and the background information/ownership of the works can be discovered easily and precisely.
In case of Ági and her exhibition, we I guess have the opportunity at an exceptionaly interrsting and an important milestone in her artistic life period, when her works get matured, transformed into stable concepts and reach the lucid stylistic forms via experiments. As she is at the begginning of her maturistic period, she could show retrospectively the periods her art went already trough and we can create a time&topic based installment from her works. Installation and the exhibition:Coming Sooon:)
The Várfok Gallery Experience
The visit to the Várfok Gallery was a good example of contemporary gallery experience in Hungary, which has already a history reaching back to the Hungarian systemchange.
The Várfok Gallery works basically with artists on contract and establishes for them their reputation, manages their career, creates a basis for their works where they can reach public and last but not least helps to market these works.
As for exhibiting the artworks, it is important to distinguish between one man and joint exhibition, here at Várfok we mostly talk about joint exhibitions, where several artists submit their works for a given topic and they go on show, or the gallery team discovers similar motifs, themes in the artworks and thus they are exhibited together at one show. An exhibit lasts usually for 1-2month long and all the works are for sale.
The preferred mediums are: paintings, photographs, sculptures and everything which is basically not video. On a simple reason because video art is quite an undiscovered area on the Hungarian art market and the cost of equipment is just not profitable to make the show...
The paintings are catalogised in a computerised data base and stored stricktly to the rules of the gallery.
The Várfok Gallery works basically with artists on contract and establishes for them their reputation, manages their career, creates a basis for their works where they can reach public and last but not least helps to market these works.
As for exhibiting the artworks, it is important to distinguish between one man and joint exhibition, here at Várfok we mostly talk about joint exhibitions, where several artists submit their works for a given topic and they go on show, or the gallery team discovers similar motifs, themes in the artworks and thus they are exhibited together at one show. An exhibit lasts usually for 1-2month long and all the works are for sale.
The preferred mediums are: paintings, photographs, sculptures and everything which is basically not video. On a simple reason because video art is quite an undiscovered area on the Hungarian art market and the cost of equipment is just not profitable to make the show...
The paintings are catalogised in a computerised data base and stored stricktly to the rules of the gallery.
Monday, 5 April 2010
Exhibition Planning
Recently we had an assignment to prepare a plan for an imaginery exhibition, which is based on the previously leraned criteria and designing process of an exhibition.
My plan is in short descreption, a photo exhibition in a vacant factory building, based on experimental photography and light art. The purpose is aesthetic and educative for the visitors, who are basically ranging from teenagers to an undefined generation involvable audience in futuristic and kinetic arts. The artworks feature only contemporaty works, lighted with museum lights in total darkness, where luminous stripes of light signs show the way to the works and fluorescent sculptures are glowing on the way.
As for funding, I would involve a digital camera manufactoring company as the main sponsor of the event and an auction in the end would ensure the closure of the exhibition as well as the additional profit besides the ticket sales, which would cover the operating costs complementing the sponsor's funds. I'm looking forward for the exhibition we arrange in Ráday street and for the details of the project, curiously;)
My plan is in short descreption, a photo exhibition in a vacant factory building, based on experimental photography and light art. The purpose is aesthetic and educative for the visitors, who are basically ranging from teenagers to an undefined generation involvable audience in futuristic and kinetic arts. The artworks feature only contemporaty works, lighted with museum lights in total darkness, where luminous stripes of light signs show the way to the works and fluorescent sculptures are glowing on the way.
As for funding, I would involve a digital camera manufactoring company as the main sponsor of the event and an auction in the end would ensure the closure of the exhibition as well as the additional profit besides the ticket sales, which would cover the operating costs complementing the sponsor's funds. I'm looking forward for the exhibition we arrange in Ráday street and for the details of the project, curiously;)
Saturday, 13 March 2010
Create an Exhibition?
By now we should be armed up with some experience from the "gallery tour" and the classes, how to begin with an exhibition and what to do to start off.
In our case this seems to be a bit complicated, as I have experienced in class. This is may be the result of little former planning, or written agreement. In my view, we should next time put down the main points of the concept and discuss them together, write down all the ideas and select the best fitting one, not for everybody but for the project!
About the exhibition plan in the café, I firstly think of arrangemenet matters in space and then in feasibility. My view is that covering windows is dangerous stuff, for a space, where in spring time people sit out and see nothing inside and vs. inside-out, the permission from the bar staff whose bsuiness is to provide drinks for people inside/outside as well, the other upcoming notice is that if we put photos against strong ligth without any background they will gloom in a strange white colour with the label seen in the photoside of the maker of the photopaper.
I'm sorry not to have contribted too much good news, but the situation of unagrement in the class makes me reschedule my feelings towards group dynamics.
In our case this seems to be a bit complicated, as I have experienced in class. This is may be the result of little former planning, or written agreement. In my view, we should next time put down the main points of the concept and discuss them together, write down all the ideas and select the best fitting one, not for everybody but for the project!
About the exhibition plan in the café, I firstly think of arrangemenet matters in space and then in feasibility. My view is that covering windows is dangerous stuff, for a space, where in spring time people sit out and see nothing inside and vs. inside-out, the permission from the bar staff whose bsuiness is to provide drinks for people inside/outside as well, the other upcoming notice is that if we put photos against strong ligth without any background they will gloom in a strange white colour with the label seen in the photoside of the maker of the photopaper.
I'm sorry not to have contribted too much good news, but the situation of unagrement in the class makes me reschedule my feelings towards group dynamics.
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