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.
Gallery Tour
Again a field trip has made up our class, which in this subject is undoubtedly a useful and practical as well as educative.
First, we have seen a low budget photo exhibition at Gödör, which as I have counted consisted of 50-60 photographes, aesthetically arranged on a black drapery with wires and IKEA frames. This surprisingly should cost with printing 50-70.ooo HUF... compared to LUMU's 4 million budget for video art however this is a little amount, but usually paid by the artist(s)!
Second, we went to a 0 budget exhibit, in a café, where only wall space and a limited publicity was granted to the artist and his works. Nice to see, nice to have such thing, but should step further->
intooo a spacial place which is called 'BARAK', a place where artists established an open environment, at least they claim that, however the closed doors were not so convincing to me whether we should enter the place at any time of the day. The one-room artists' show room was arranged arround a ping-pong table and coaches were placed arround the room to enjoy the view of various contemporary installments. Basic purpose of the place was in my view to educate and involve people, mostly artists, into the spirit of their gallery.
Next, we have seen a practically enteriored, small gallery for contemporary works again. There were on show from any size of paintings to photographs, sculpture, video art and even jewevelerry was in plan as well for the near future. In my view this place was not lost, but in search for their stlye, type and main field of interest, when they find it and the right artists, they can take off really.
Last, but not least we have the G-13 gallery, a well-established, structured and in all cases a professional gallery. The main aim of all this neatness is to trade with the artworks. According to this aim, they built up a gallery which really has eligible condition, so that the rooms can be adjused to the works installed in them. The guide to us was, professional, both in knowledge about the works and in his language skills as well, just the one that a foreigner client would need and like to have. Of course from the sales, the full-budget is to be and should be made in order to fulfill all the requrements of the public, who wants to see a high standar exhibition and the prospect who appriciates the neatly organised and strutured places.
First, we have seen a low budget photo exhibition at Gödör, which as I have counted consisted of 50-60 photographes, aesthetically arranged on a black drapery with wires and IKEA frames. This surprisingly should cost with printing 50-70.ooo HUF... compared to LUMU's 4 million budget for video art however this is a little amount, but usually paid by the artist(s)!
Second, we went to a 0 budget exhibit, in a café, where only wall space and a limited publicity was granted to the artist and his works. Nice to see, nice to have such thing, but should step further->
intooo a spacial place which is called 'BARAK', a place where artists established an open environment, at least they claim that, however the closed doors were not so convincing to me whether we should enter the place at any time of the day. The one-room artists' show room was arranged arround a ping-pong table and coaches were placed arround the room to enjoy the view of various contemporary installments. Basic purpose of the place was in my view to educate and involve people, mostly artists, into the spirit of their gallery.
Next, we have seen a practically enteriored, small gallery for contemporary works again. There were on show from any size of paintings to photographs, sculpture, video art and even jewevelerry was in plan as well for the near future. In my view this place was not lost, but in search for their stlye, type and main field of interest, when they find it and the right artists, they can take off really.
Last, but not least we have the G-13 gallery, a well-established, structured and in all cases a professional gallery. The main aim of all this neatness is to trade with the artworks. According to this aim, they built up a gallery which really has eligible condition, so that the rooms can be adjused to the works installed in them. The guide to us was, professional, both in knowledge about the works and in his language skills as well, just the one that a foreigner client would need and like to have. Of course from the sales, the full-budget is to be and should be made in order to fulfill all the requrements of the public, who wants to see a high standar exhibition and the prospect who appriciates the neatly organised and strutured places.
Sunday, 28 February 2010
How to organise an exhibition, the process and the types
First and foremost, we have to distinguish between Permanent and Temporary exhibitions. Temporary exhibitions can be solo and group ones. They are more precisely defined according to the location, type and purpose.
For instance a solo, one man show in an exhibition pavillion or in an art fair/show on the purpose to sell the works would be typical for Damien Hirst, but in contrast a musum located exhibition of the great Chinque Chento artists should serve an educational purpose.
Within this given frame for exhibitions we were to categorize the presentations of our groupmates, so that we described the purpose of the artist/artists they talked about and the different conditions they had set up or made their exhibition to be set.
In the second part of the lession we puzzled together how an exhibition should be organised and what tasks are to be completed, in a form of a Work Breakdown Structure on the white board.
For instance a solo, one man show in an exhibition pavillion or in an art fair/show on the purpose to sell the works would be typical for Damien Hirst, but in contrast a musum located exhibition of the great Chinque Chento artists should serve an educational purpose.
Within this given frame for exhibitions we were to categorize the presentations of our groupmates, so that we described the purpose of the artist/artists they talked about and the different conditions they had set up or made their exhibition to be set.
In the second part of the lession we puzzled together how an exhibition should be organised and what tasks are to be completed, in a form of a Work Breakdown Structure on the white board.
Saturday, 20 February 2010
The Lumu Video Art Exhibition - Keleten a helyzet
After having visited this impressive and thought triggering exhibition, I'm really wondering how people from not the ex-eastern block countries would feel after their visit, because the thing is that it has surfaced for me some still existing and not solved issues about national identity, belonging, power-relations, supression and the current special situation of the mid-Eastern Region of Europe, where we live in.
This area has always been a home to extremely wide range of folks, nations and various ethnic groups, with the influence of the western culture and periodically a supression of foreign powers.
To examine and have a clear overview about all the impacts in relation to ruling powers and national identities this exhibitions should be useful and fitting all kind of people in the world, not only the members of the mid-Eastern Eu. region.
As for the installation techniques, I confidently can assert that with the short guided tour I gained all the information I needed to the works and they did not disturb enjoying eachother, which would be mostly the case in loud video installations close to eachother.
This area has always been a home to extremely wide range of folks, nations and various ethnic groups, with the influence of the western culture and periodically a supression of foreign powers.
To examine and have a clear overview about all the impacts in relation to ruling powers and national identities this exhibitions should be useful and fitting all kind of people in the world, not only the members of the mid-Eastern Eu. region.
As for the installation techniques, I confidently can assert that with the short guided tour I gained all the information I needed to the works and they did not disturb enjoying eachother, which would be mostly the case in loud video installations close to eachother.
week 1 Intorduction
As in many subjects, neither was it in an other way in this case, we began with the general introduction of eachother to the group and to the teacher, we have determined the main milestones-assessments of the semester and made up a success criteria to this semester.
Personally I could say that exhibiting and publishing works to the public is an extremely important moment in the gallery world, how you represent your works determine their future to some extent.
E.g. when a good work of art is placed badly, unaesthetically its value also may drops down to the level of B category paintings next to it, or to the place of B category paintings when it is placed at the wrong part of the gallery.
On the other hand, I also could say that systematically an exhibition should trigger and make the visitor to enjoy and become a part of the exhibition not an isolated beholder, less it was our intention.
All in all, I'm looking forward for the challenges of this semester and for the success of it.
Personally I could say that exhibiting and publishing works to the public is an extremely important moment in the gallery world, how you represent your works determine their future to some extent.
E.g. when a good work of art is placed badly, unaesthetically its value also may drops down to the level of B category paintings next to it, or to the place of B category paintings when it is placed at the wrong part of the gallery.
On the other hand, I also could say that systematically an exhibition should trigger and make the visitor to enjoy and become a part of the exhibition not an isolated beholder, less it was our intention.
All in all, I'm looking forward for the challenges of this semester and for the success of it.
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