Res Artis 05 Berlin the 10th General Meeting and Conference of Res Artis was convened by ufaFabrik in partnership with the Asia-Europe Foundation and with Schloss Broellin. The event gathered over 150 participants from 42 countries the largest meeting of the network so far.
Under the title of “Sharing Cultures and Social Change”, the meeting was designed with a special focus on Asia-Europe cultural exchange. More than 40 delegates represented residential arts projects from places throughout Asia, including Korea, Japan, China, Malaysia, Myanmar, Cambodia, India, Indonesia, Sri Lanka, Singapore, Thailand, Taiwan and Vietnam.
“Sharing Cultures and Social Change” refers to the role of artist residencies in society, facilitating cultural exchange and impacting their surroundings to create social change. The programming was quite diverse, mixing keynote lectures and case studies with small group sessions and free time. Content included fresh information on tools for artist’s mobility, personal viewpoints from international funders, debates on current curatorial practices, issues of residency in the performing arts and alternative grant making structures. There was also a significant focus on projects and support systems within and between Europe and Asia.
In order to expose the diverse and evolving art and culture of Berlin, the conference sessions were held in eight different cultural venues throughout the city. An additional excursion day provided the opportunity to explore the surrounding region, with visits to Schloss Broellin and across the border to Szczecin, Poland.
Words of Welcome
Dr. Christina Weiss
A warm welcome to the ‘Res Artis 05 Berlin’ conference delegates from the State Minister of the Federal Chancellery for Media and Culture, Dr. Christina Weiss.
Historically, festivals have brought us examples of culture from other countries, fairs and exhibition halls show work from around the globe and international artists are represented through orchestra, concerts and dance companies.
In this time of globalization, however, the meaningful international exchanges among artists has become of utmost importance. The opportunity for a real dialogue about experiences and visions central to the work of artists is very often missing. The
so-called “cultural exchanges” are all too often a show and tell for finished products and productions, rarely encouraging open discussions.
I am therefore pleased that this conference entitled “Sharing Cultures & Social Change” is convened in Berlin, bringing together representatives from a wide variety of organizations and projects in Asia, Europe and around the globe.
This conference offers a platform for future networks, workshops and co-productions. It can also act as an opportunity for regional and local initiatives to be reinforced through trans-continental forum of ideas. All this taking place in the spectacular setting of this year’s Asia-Pacific Week in Berlin.
I wish all 160 participants from 42 countries an exciting time in Berlin and hope that this conference will be productive and successful for the arts and the artists.
Greetings form the Governing Mayor of Berlin, Klaus Wowereit, to the international conference of residential art centers ‘Res Artis 05 Belrin’
Berlin welcomes the participants in the first Asia-Europe conference of residential arts centers to Germany’s capital city. Berlin is international and cosmopolitan. Above all, however, Berlin is a city that offers space, scope, and potential to creative minds.
I am thus delighted that representatives of many artists’ residencies from all over the world are coming to Berlin for the “Res Artis 05 Berlin” conference to exchange ideas and experiences and to talk to one another. The conference offers many opportunities to examine new models for working and living in the light of cultural differences, to discuss the prospects for transcontinental cultural projects in the “global age,” and to thereby widen our view of the world’s diversity and the abundance of forms of expression.
In this era of enhanced mobility, the many “art factories” coming to Berlin for this meeting are united by the idea and the goal of providing residencies and development opportunities for artists that would be almost unimaginable under market conditions. This makes them venues not only for international cultural exchange, but for the promotion of creative work.
Berlin offers many starting points for a look at the circumstances in which
artistic creativity can thrive. The ufaFabrik is one of these. Once a place where dreams were captured on celluloid – on the grounds of the former ufa film studios printing facility – it has helped to make new and uncommon ideas reality for 25 years now. However, this conference will also be meeting in many other centers known for their innovative approach and offering the right setting for creative work.
I hope that all of you attending the conference will enjoy not only a thought-provoking meeting, but an eventful stay in Berlin.
President, Res Artis | Co-Executive Director, 18th Street Art Center
On the Opening of the Res Artis 10th General Meeting
On behalf of the board of directors of Res Artis I am pleased to welcome the many delegates who have traveled from around the world to the Res Artis 10th General Meeting. As we officially open this extraordinary conference, I am thinking of how Res Artis’ inaugural meeting in 1993 was also in Berlin. At that time twenty one persons from nine countries were present. Today, ten meetings later, there are 160 delegates from 40 countries, and representatives from 10 foundations and agencies who support artistic and cultural exchange. The growth of Res Artis, and the growth in the field of artist communities and networks is a parallel phenomena and I cannot help but view this development as the emergence of a significant and important component of the arts and culture landscape worldwide.
I am a practicing visual artist since 1970. As president of Res Artis I occasionally remark it is also significant that many of its members are practicing artists who see the need for community and seek it out. As artists, we have enlarged our practice by taking on the tasks of critical writing, curating, arts administration and fundraising, and in particular the promotion of international artistic exchange. The multi-tasking artist is a newer model, born of a sensibility of self sufficiency and taking responsibility for the welfare of the group. Our values are evolving; we believe in the bridging of cultural, political, class and religious divides, the promotion of peace, the beauty and intensity of creativity, and to this end we work to build organizations such as Res Artis.
If there is an over arching theme for Res Artis during its tenth meeting, it is that there is no ‘center’ which is dominant. Rather Res Artis is a fluid and mobile network of like minded persons. I am incredibly optimistic about the future of Res Artis, seeing all of you here. I know many of you have traveled a long ways, worked hard to raise the money to come here, and are committed to growing this unique association of creative communities. We are learning from each other, how to organize effectively and with cooperation; to acknowledge what is unique and special about diverse cultures; and to treasure those differences. I can look back at Res Artis, and see it how it has matured into a true international association.
This is my last general meeting as president, and to that end I wish mention a few of the numerous persons who have helped Res Artis, worked for its future, and given unstintingly of their time, freely and generously. First, to Emmanuelle du Montgazon, who invited my organization, the 18th Street Arts Center of Los Angeles, to become a part of Res Artis. Then to Michael Haerdter, whose indefatigable advocacy of Res Artis was a huge inspiration. To Laurens Schumacher, who as president of Res Artis shepearded its transition from an informal association to a legal foundation based in the Netherlands. And then to O.P. Jain, who hosted an extraordinary meeting in Delhi which I will never forget, and who became a mentor for me as my role in the organization expanded. I have had the pleasure of sharing the executive duties with my colleague and Vice president of Res Artis, Rudolf Brünger, who has done a magnificent job organizing this conference. Maria Tuerlings, secretary of Res Artis, has been an unfailing voice of calm and reason. The current board members who have helped with the thinking and planning for Res Artis future deserve mention You will meet them throughout this conference, and so I wish to thank Nick Tsoutas, Deborah Obalil, Margaret Shiu Tan, Dinh Q Le, N’Gone Fall, Varun Jain, Marika Blossfeldt, Hanneke Fruehauf, Laurent Deveze, and Richard Perram. We especially wish to thank The Asia-Europe Foundation, the Prince Barnard Fund, and the Ford Foundation who have helped to fund the travel costs of many of the delegates, and to the numerous agencies, venues, and persons who have made contributions to this conference. Lastly, to the many other persons and organizations who have made past contributions to Res Artis, I express my appreciation for their generous support.
Finally, I wish to mention our former board member, Paul Bardwell, who passed away last year. Paul was with us in Australia at the 9th general meeting, and we did not know how ill he really was. We all were shocked and deeply saddened when we received word of his passing. Paul epitomized the selfless spirit of Res Artis members, and had tireless energy and interest in what other people from other lands were doing. He felt that the movement of artists from diverse communities bridged cultural divides and helped to promote world peace. We miss Paul during this meeting, and I dedicate the 10th Res Artis General meeting to the memory of Paul Bardwell.
At this point, it is time to open the conference. I trust over the next four days you will make new friends, form creative collaborations, be inspired and have your worldview expanded by contact with the amazing group of persons assembled here. The Res Artis 10th General Meeting now begins!
Vice-President, Res Artis | Executive Director, ufaFabrik
On behalf of the team of ufaFabrik Berlin International Cultural Center I would like to welcome you to the 10th general meeting of Res Artis, the worldwide network of artist residencies.
It is with great pleasure to see that so many colleagues from across the globe have accepted our invitation to gather in Berlin. The Res Artis network has accomplished its first full circle, coming back to Berlin after 12 years. We welcome all of you to celebrate this anniversary.
In the past two decades, cultural networking has become common throughout Europe. Today you can count the networks by the hundreds, all of them having their own focus. What is special about Res Artis is that this initiative has grown into a truly global cross-cultural forum with an amazing diversity of members. More than 250 organizations in 55 countries, many of them born from citizen activities, are now associated. Res Artis is a unique, nongovernmental platform across all creative art forms, where independent grassroots arts initiatives meet together with established governmental arts institutions, funding bodies and dedicated individuals.
The conference title “Sharing Cultures and Social Change” refers to the role that artist residencies and independent “art factories” play in cultural exchange and contemporary art making. Residential arts centers support artists’ mobility and provide the necessary means for artistic and creative production. The projects often impact their social surroundings and can create social change.
The design for this meeting was inspired by previous general meetings of Res Artis in New Delhi, Los Angeles, Helsinki and in Sydney and Melbourne. Res Artis o5 Berlin is organized as a citywide conference that includes keynote lectures and panels, case studies and excursions. We provide face-to-face talks in small groups, fresh information on current development and tools for artist’s mobility and we will hear some personal views of international funders. We will debate curatorial practices and innovative grant making and will introduce you to some of the key operators for intercultural programmes in Berlin. Enough free time will be left to experience the dynamic cultural life in Berlin.
I am grateful to the support of our partner, the Asia-Europe Foundation, and want to thank Ms. Chulamanee Chartsuwan and Ms. Marie Le Sourd for their confidence and enduring support to help us to fulfill the particular aspiration of this conference: to provide a platform of exchange between cultural movers in Asia and in Europe. I am delighted to welcome the 45 delegates who have taken the long journey to represent their respective initiatives throughout Asia. We want to reflect upon the transitory processes in our regions and the potential for artistic cooperation and sustainable partnerships. The conference aims to foster the networking process between the old and many new initiatives.
Among the members of Res Artis, there is a growing number of performing arts residencies and multidisciplinary artist-run spaces. The conference dedicates two sessions to discuss the specific needs for artist groups and collective work in the performing arts.
Peter Legemann of Broellin will take you on an excursion on Sunday in to the country north of Berlin. We will visit Schloss Broellin, a fine example of a multidisciplinary production site and meet with Officyna and the National Museum in Szczecin in Poland.
Berlin has gained a reputation as the place for the arts in Germany. When we started ufaFabrik 25 years ago, there were hardly any stage facilities for independent performers, Bethanien was the one pioneer model of a residential arts center. Today, a widespread diversity of venues and creative spaces across all art forms have emerged. During the conference, you will experience 8 partner organizations, who will host the Res Artis’ sessions in their venues, all of them different in their concepts and structures. The common ground shared by these spaces is the enthusiasm in supporting emerging artists and international artistic exchange.
We are grateful for the support of the Berlin Hauptstadtkulturfonds, which made this conference possible. Under the curatorial direction of Adrienne Goehler, the Berlin Capital City Culture Fund, located within the German Ministry for Culture and the Media, fosters the dynamic variety of independent arts projects in Berlin.
I take the opportunity to thank the team at ufaFabrik as well as Peter Legemann of Schloss Broellin and Marie Le Sourd of the Asia-Europe Foundation for the untiring assistance in bringing this conference to reality.
Wishing us all together an exciting meeting, sharing our cultures, experiences and ideas.
First of all, welcome all of you, from 42 countries, to the “International Artists Residences – Sharing Cultures and Social Changes, 2005 Berlin”. I would like to express, as well, how honoured I am here, in my capacity as the Deputy Executive Director of the Asia-Europe Foundation (ASEF), to open the Conference, together with ASEF’s partners: UfaFabrik, Res Artis and Brandenburger Tor Stiftung. I am very proud to have this opportunity of working together with you.
ASEF was established in February 1997 by members of the Asia-Europe Meeting (ASEM). We are based in Singapore. With the subsequent ASEM enlargement taking place in November 2004, currently we have altogether thirty-eight countries and the European Commission as our Members. ASEF’s mission is to promote mutual understanding and respect between peoples in Asia and Europe through greater cultural, intellectual and people to people exchanges.
In its cultural exchange activities, ASEF perceives culture in both its narrow sense in artistic expression like visual, performing arts, music and its wider sense as the totality in social development, improvement or refinement. Its objective is to provide a unique environment where artists and cultural professionals from Europe and Asia can meet, share experiences and ideas, learn more about each other’s contexts of artistic works and potentially develop opportunities for future collaboration. The emphasis is on process instead of the end result.
Accordingly, ASEF has forged its focus on: young artists in exchange (with yearly forum and camp in the fields of photography, dance, music and new media arts); process oriented platforms for exchange (independent cinema/museums/autonomous cultural centres), dialogue on policy and culture and a vision for an Asia-Europe Cultural Portal.
At this point, you may already realise the irony that “artists in residence” per se is not part of ASEF’s cultural exchange programme, yet we are partner with UFAFabrik and RES ARTIS for the RES ARTIS 2005 Berlin! To address this question in short, if I may try, that is because WE SHARE THE SAME INTERESTS! Through our work, we hope that the mobility of artists can be sustained and increased, they can, therefore, exchange knowledge face-to-face, and thus each of them will be enriched by others’ experience.
Let me explain a bit more.
1. When one refers to artists in residence, one also thinks about artists’ mobility, exchange, learning about each other’s context, creative process, development of networks and future collaboration projects: these are also some of the key issues ASEF is concerned with in its young artists’ exchange programme.
2. When RES ARTIS and Ufafabrik approached ASEF, they were particularly enthusiastic in getting more contacts and participants from Asia artists communities; while, at the same time, ASEF was interested in linking Asian cultural professionals with the European and especially those from Eastern Europe. Synergy between our respective organizations can therefore help multiply exchange and networks between the 26 delegates under ASEF and the rest of the participants coming from Europe but also Africa and America. I am very pleased to unveil to you that I had spent so far, in total, nearly 12 years in the African continent before I moved to Singapore to join ASEF. You can imagine how delighted I am to see the independent artists from Africa.
The expansion of network, realised by the Res Artis 2005 Berlin, also enriches ASEF’s connections with autonomous cultural centres, which we started to develop since last year’s meeting in Shanghai (International Meeting between Autonomous Cultural Centres, organized by BizArt, Artfactories and ASEF).
3. Finally, one key point in the participation of ASEF as a partner for this event on Sharing Cultures and Social Change, is its long-standing efforts in bringing together not only artists and cultural professionals but also representatives from other foundations/regional and national cultural agencies to facilitate the dialogues. This is also an important part of ASEF’s programme on Dialogue on Policy and Culture, to act as an interface between the levels of the artists/cultural professionals and policy makers’ level.
For the three above reasons, ASEF is today very pleased to be here.
Let me at this point thank very much for the efficient support of our partners at UFA Fabrik, Rudolf Brünger, Sigrid Niemer, and Julie Upmeyer. I have to confess that I have known Mr. Brünger for 25 years. When I was a director for Teachers’ Training Courses at the Goethe Institut in Berlin, at that time, we tried to connect German language teachers all over the world with cultural actors in Berlin and, in particular from Ufafabrik. A special note for Alia Swastika from Cemeti art house, Indonesia who is doing a staff exchange programme at UFA under ASEF’s programme and is also working on this conference; at RES ARTIS the very dynamic Mrs. Maria Tuerlings.
I would like to take this opportunity also thank Mrs. Chulamanee Chartsuwan, Director of our Cultural Exchange Department who has brought much spirit to this programme as well as to the whole development of CE at ASEF. My thanks also go to Miss Marie le Sourd, we are always amazed by her energy and innovative ideas. In addition, I have brought with me the best wishes from Ambassador Wonil Cho, the Executive Director of ASEF, who salutes all the participants for your courage in artistic development in different corners of the world.
Let me finish by quoting Emma Lewis, art student from UK, who took part recently in the Third Asia-Europe Art Camp 2005 in Bandung, Indonesia: “Many of my assumptions have been challenged. I have been lead to reconsider my practice and how it can be further developed. Exposure to so many creative approaches to the arts has been inspiring and has greatly motivated me. I hope many collaborations will emerge from this camp”.
The German philosopher Heinrich Beck said: Freedom of creativity is necessary for dialogue. I take the liberty to say something further that FREEDOM OF MOBILITY IS NECESSARY FOR DIALOGUE. I sincerely hope that through these very intensive three days, more knowledge on artists in residence programme, experiences and contacts will be gained so that more artists’ exchange and creative exposure can take place in the future to foster even closer links and understanding between Asia and Europe!
Art Forum Berlin is the International Fair for Contemporary Art, organized by Messe Berlin in cooperation with an international art galleries’ advisory board. With 129 galleries from 25 countries, Art Forum Berlin showcases fresh works of established artists and newcomers.
The event features all forms of 21st century art ranging from video and photography, to paintings, sculptures, installations, graphics, and multimedia. Nearly 30,000 art enthusiasts, 1,900 journalists from 22 nations, and renowned collectors, museum directors and curators from Germany and other countries visited Art Forum Berlin in 2004.
On the occasion of its 10th anniversary, Art Forum Berlin will offer a Special Exhibition Project: “Temporary Import” with focus on exceptional international artists who have been or currently are guests in Berlin as artists-in-residence of DAAD, Bethanien or other institutions. Susanne Titz, Director of Museum Abteiberg, Moenchengladbach and curator of the exhibition, chose 47 artists to present their work in an exhibition of architecture by Danish artist Simon Dybbroe Møller.
Arena Berlin, built in 1927 and extensively renovated, is one of the focal points for a wide range of Berlin cultural events. Located on the river Spree, the arena is comprised of the Glashous club, café and theatre, the Magazin exhibition space, an extensive open air space, the MS Hoppetosse restaurant and ship and the Badeschiff, a beach, club, lounge and floating swimming pool. arena programming includes world-class theatre, concerts, parties, fairs, conferences, exhibitions and its own art exhibition, the “Berliner Kunstsalon”. This annual event features the most innovative representatives of the Berlin art scene.
This summer the arena Berlin celebrated its 10-year anniversary with a three-month festival that included international and national concerts, parties, exhibitions, events and theatre productions.
Max Liebermann was one of the most famous artists of Berlin and used to have his studio in this building. The foundation „Brandenburger Tor“ was established in December 1997 and is a non-profit institution with three main fields of activities: education, culture and science/investigation. As for the culture, the foundation aims at \being a communication platform for culture, a meeting point between artists and those who are responsible for culture in the \respective countries having in mind the cultural integration of Europe maintaining the cultural diversity of each region.
Part of its cultural activities are the so called „gate conversations“ (referring to the Brandenburg Gate) and the seat of the foundation. They vary but relate either to art and literature in Eastern Europe, to actual cultural/political subjects or to science. The foundation also offers the programme of “Literary Tandem” to two authors, one being from Berlin, the other from Eastern Europe. Both spend two months in the respective city and afterwards present their impressions and what they have written during their stay.
Once a year an exhibition is offered, focusing either on young Eastern European artists or the historic dimension of Max Liebermann and his “colleague” painters.
ufaFabrik, international center for culture and ecology is an urban experimentation combining living and working on the grounds of the former UFA-Film Copy Center. Activities of the 30 residents and over 150 co-workers are based on the vision of a meaningful integration of the areas of living and working with culture, creativity and community.
ufaFabrik offers performance spaces for international artists, festivals, in-house productions, comedy, cabaret, dance, world music, children’s programs and professional theatre presentations. Also on the grounds is a guest house, two theatre spaces, practice studios, an outdoor covered-stage, an organic bakery, a natural foods store, a café and a children’s farm.
ufa also offers a wide variety of programming, including a children’s circus school, a samba percussion, a dance studio, a martial arts dojo, a neighborhood and self help center, seminars and discussions on ecological projects and sustainable development and workshops for young and old to remain active.
Internationally, the ufaFabrik enjoys considerable recognition as a leading demonstration in the areas of culture, community and ecology. The ufaFabrik Berlin is a living example of the possibilities that exist for creating attractive, socially and ecologically just ways of living in a metropolis.
Künstlerhaus Bethanien is a service enterprise whose goal is to further contemporary art and contemporary artists. It is responsible for the lodging and assistance of international guests; for offering advice in general questions concerning art and its practical issues; for the running of the workshops; for the planning and realization of its residents’ events; and the development and organization of artistic and cultural projects both in and outside of Berlin.
With its 25 studios, Künstlerhaus Bethanien represents one of the largest establishments among international residency programs. The selection of artists – predominantly in the area of visual arts – is carried out according to the standards of originality and creative quality, individual applications are not accepted by the Künstlerhaus.
Künstlerhaus Bethanien is responsible for 20 to 30 events each year, exhibitions, work presentations and performances as well as publishing over 190 works and a magazine. It runs a Media Arts Lab, a Training Center for Curatorial Practice and an arts counseling center. Artists are advised in respect to their projects, and suitable partners, organizations and sponsors are recommended and introduced. Advice is also offered on the restructuring and optimization of artists’ and studio programs, finance, tax and administration.
The Sophiensaele is one of the most well known venues for contemporary theatre, dance and performance projects in Germany. The theatre was founded in autumn 1996 with the premiere of Sasha Waltz’s successful production ‘Allee der Kosmonauten’. Sophiensaele is an important production partner for national and international dance and theatre productions, also host to several important Berlin festivals. The works of young, emerging artists that fall outside of institutionalized theatres are produced and presented. These artists find a protected area for experimental art forms.
Sophiensaele is not a traditional theatre room. This presents a challenge to deal intensively and artistically with the architectural specialties of the room. Before being transformed by the Sophiensaele pioneers, it was a semi-derelict building that housed a train union society in the days of the GDR. Berlin organizers especially appreciate the large banquet hall, with its many uses and special atmosphere.
“The Sophiensaele stands for unconventional productions, somewhere between dance, music, pop and avant-garde theatre. They have won over an audience that welcomes unknown artists and allows them to follow their own paths to an independent aesthetic.” Frankfurter Allgemeine Zeitung
Since 2001, C/O Berlin has been the cultural forum for photography. developing projects conceptually and structurally, then taking them through to completion, producing creative, unconventional solutions which go beyond state funding and business interests. Architecture, design and photography – as a private cultural institution, C/O Berlin combines these artistic disciplines in a special way.
C/O Berlin is a non-profit cultural enterprise, generating income from commercial activities but not from the sale of the photographic work. Instead, C/O Berlin finances itself through private commitments, entrance charges, space rentals, sale of merchandise and the C/O Edition and through sponsorships.
In its exhibitions, C/O Berlin focuses primarily on narrative, journalistic photography, also presenting exhibitions by notable international figures in documentary photography. C/O Talents presents experimental young positions in photography. The Studio is the workshop and experimental laboratory for recent and unknown works of German and international photographers.
The C/O Lectures discussion forum is a platform for current ideas and issues in the areas of architecture, design and photography. C/O also hosts workshops, meetings, performances and other projects, including workshops for children and teenagers, introducing photography, architecture and design in a playful way.
The House of World Cultures is a presenter of fine arts, theatre, music, literature, film and the media and seeks to engage artists from around the world in a public discourse. Its program focuses on the contemporary arts of and current developments in Africa, Asia and Latin America as well as on the artistic and cultural consequences of globalization. A panel of experts comprising international artists and scientists advises the House of World Cultures on the development of its themes. The House’s three artistic departments also draw inspiration from an international network of cultural establishments and organizations around the globe. The interdisciplinary nature of its program work and its endeavors to combine art forms lend the House of World Cultures’ work its distinctive character.
The House of World Cultures stages events throughout the year. The building, which serves as home to the House of World Cultures, was a gift to the City of Berlin and the United States’ contribution to the International Building Exhibition (INTERBAU) in 1957. The House of World Cultures is today one of the city’s most famous landmarks, situated in close proximity to the Federal Chancellery, German Parliament, residence of the German President and Brandenburg Gate.
Binder is an artist, mediator and net-worker. Parallel to her own artistic work, she explores issues and develops strategies of art mediation and cultural exchange. Since 1997 she has focused on the realization of art and cultural projects on the internet, co-editing Universes in Universe – Worlds of Art.
Brünger is co-founder and Executive Director of ufaFabrik International Cultural Center in Berlin and current Vice-President for Res Artis. As a cultural organizer he has programmed the UFA Fabrik arthouse cinemas during the eighties, staged theatre festivals like Transeurope Festival and Mir Caravane in Berlin and followed the fast transformation of the city in the Nineties with site-specific, ephemeral events on public places.
Campbell is the current president of Res Artis and the co-executive director of the 18th Street Arts Center in Los Angeles. A practicing artist, his photographic installation work, “Words My Son has Learned Since 9-11”, was exhibited at the Mainson Europeenne de la Photographie, Paris. Campbell contributes to Flash Art International, Contemporary and Afteimage Magazines. He is deeply involved with international arts projects and in 2002 was awarded the Chevalier in the Order of Arts and Letters.
Dumas is assistant coordinator in the art center Mains d’?uvres in Saint-Ouen. She studied cultural mediation in the ICART school in Paris where she wrote a thesis on the residency for artists in New York state and its operation. She has worked as assistant coordinator in art galleries and art centers in France, New York and Montreal.
Frank was the Assistant Artistic Director and Dramaturg at Künstlerhaus Mousonturm Frankfurt from 2000 to 2004. A committed organizer of international theatre, he acted as curator of arts programmes such as ‘plateaux’ (an international platform for young theatre directors) and the 5th International Summer Academy. Since 2005, Frank has been dramaturg and curator at Sophiensaele in Berlin.
Frühauf, a former curator of BINZ39, a gallery and artists-studio project in Zurich, is now the curator for the bridgeguard organization. She is also a member of the Res Artis advisory committee and art director of dutchartdesk.ch, a foundation that enhances the perception and mutual understanding between Switzerland and the Netherlands through art and culture projects.
Gaweewong, born in Chiang Rai, Thailand, currently works as a freelance curator and is co-founder of the project 304, which focuses on multidisciplinary art projects by local and international artists. Gaweewong curated Alien(gener)ation (Bangkok, Khonkaen, Chiang Mai 2000-3) and Under Construction (Japan, 2003). Presently she is coordinating Mekong Laboratory, an exchange project in the performing arts.
Goehler is the curator for the Hauptstadt Kulturfonds (capital city cultural funds) of Berlin. She has served as a deputy in the Hamburg Parliament as part of the Women’s fraction of the Green Party, headed the Academy of Fine Arts in Hamburg and was Senator for Science, Research and Culture in Berlin.
Haerdter is a writer, lecturer and curator. He was the dramaturge at Schiller-Theater Berlin, the Secretary General at Academy of the Arts, Berlin and the founder and director of Künstlerhaus Bethanien, Berlin. He co-founded Res Artis in 1993 and was the first president of the network from 1994-2000. Living and working in Berlin, he has published several books and numerous essays on theatre, dance, the visual arts and related cultural and philosophical matters.
Haupt is an art historian, curator and art critic, specializing in contemporary art from Latin America. He has worked in the field of international art and cultural exchange since the 1990’s. Since 1996 he has worked with cultural projects on the internet, an expert on the conceptual and practical issues of webmarketing in the art field. He is co-editor of Universes in Universe – Worlds of Art.
Dr. Kim Hong Hee
Hong-hee, Ph. D. in art history, Hongik University, has been active as a curator and art critic. As the director of the Ssamzie Space, she has played a significant role in supporting experimental young artists. She is currently the Artistic Director of the 6th Gwangju Biennale 2006, also curator in 1995 and 2000. In addition, she served as an organizing committee member for CIMAM Seoul 2004 and 2001 Yokohama Triennale. She has published several books, including Discourse and Sites of Modern Art I, II (2003), Nam June Paik • Happening • Video (1999), and Feminism •Video • Art (1998).
Isar is president of the European Forum for Arts and Heritage and boardmember of the Institute of International Visual Arts and the Fitzcarraldo Foundation (Turin) He is Special Advisor to the World Monuments Fund and the Sanskriti Foundation (New Delhi) and managing Editor of the World Cultures Yearbook project. An independent cultural advisor, he has taught at The American University of Paris and the Institut d’Etudes Politiques and has held top positions at UNESCO and the International Fund for the Promotion of Culture.
Ong Keng Sen
Artistic director of Theatre Works in Singapore, Keng Sen is an active contributor to the development of Asian contemporary performance. He created the International Council of the Asia Society of New York and Arts Networks Asia. Keng Sen studied intercultural performance at New York University and holds a law degree. A Fulbright Scholar, he was artist-in-residence at the New York University Asian Pacific and American Studies Programme/Institute. In 2002, Keng Sen started The Continuum Asia Project, an arts exchange project in Laos. In 2003, he created The Myths of Memory, a performance and In Transit, an annual three-week festival in Berlin. He is now developing a new project with the House of World Cultures, Berlin.
Kloninger, born in Berlin, studied Business Management at the Technical University of Berlin with a minor in Economics of Education. His entire career has been with Goethe Institut, at different locations, until now. He started as Cultural Manager at the Goethe Institut in Munich, Germany and was the Director of the German cultural institute in Dakar, Senegal since 1999. He was also posted for six years in Cairo and has served in the management of the head office in Munich. He has now officially assumed the post of Deputy Executive Director at the Asia-Europe Foundation.
Koh, in his 15 year arts career, has shown his installations, videos and performances, given lectures and had his writings published, in more than 30 countries worldwide. He is directing an art and cultural programme, NICA, in Myanmar and working to set up a new cultural space in Kuala Lumpur. From 1992 – 99, he ran the space ”arting” in Cologne, where he initiated the international organization for cross-cultural projects, IFIMA. Since 2000, Jay has been working with Chu Chu Yuan in developing models of engagements with publics and communities and conceiving appropriate actions in response to each site.
Kusumo has a long career as an independent arts manager, organizing and producing traditional and contemporary Indonesian performances. As a Ford Foundation grantee from 1988 to 1991, Kusumo served as Chair of the Production Board for the Festival of Indonesia in the United States. Also involved in the 1995 Art Summit Festival in Indonesia, she was responsible for the planning and implementing of performances from thirteen countries. In 1997 Kusumo started a consultancy to the Kelola Project, promoting Indonesian arts through learning opportunities and funding. This led to the creation of the Kelola Foundation in 1999, where she now serves as director.
Kukathas is an actor, director and writer. She is a leading actress in Malaysia and the director of The Instant Cafe Theatre (ICT) – a company well loved for its daring, provocative, political and social satire. It uses humour to cut sharply across cultural, social and political barriers. The company also interprets both contemporary and classical texts to explore issues of race, religion and identity within Malaysia’s multi-cultural context. Kukathas was the director and co-writer of The Island In Between/Pulau Antara. This multi-lingual led to the formation of Lohan Journey, a network of 16 Asian artists, directors and writers. Together they created the multi-lingual interdisciplinary work Hotel Grand Asia in 2005. Lohan Journey has also spawned a number of other works between its members.
Legemann has studied and worked in the computer sciences at the Technical University in Berlin before he switched his scientific career to the arts. He started the transformation of Schloss Broellin, a historic monument building in the north of Germany, into a cultural venue and an artist-in-residence place with a focus in performing arts. Since 1992 he has been managing director and head of the board of Broellin and has been in charge of strategies, administration, promotion, public relations and finances. Now a freelancer, he is presently focusing on the artistic and cultural exchange with the Eastern European Countries, especially with the new EU-Members.
Lewoc, an art historian, is chief curator of the Contemporary Art Museum in Szczecin, organizing exhibitions of both Polish and international artists. She is the co-author and leader of the Mare Articum project, which promotes contemporary art from the Baltic Sea Region.
Marie Le Sourd
Le Sourd has a Diploma in Political Science (Institute of Political Science, Grenoble, France) and a Masters on Law of International Relations and Cultural Exchange from the University of Lyon, France. She has been working for the Asia-Europe Foundation for 6 years. In the Cultural Exchange Department, as a project manager, she is mainly in charge of programme and projects for young artists’ exchange (new media, photography), platforms for exchange (cinema, autonomous cultural centres) and Dialogue on Policy and Culture.
Born in Barcelona, Catalonia, Llobet has worked as the director of Centre d’Art i Natura de Farrera since 1996. An active writer, he usually write articles for specialized or divulgative magazines and other publications about local development in Pyrenees. Llobet’s most recent publication is “El CAN de Farrera: un projecte local d’abast global”
Merali is a visual artist, curator and educator of Indian descent In 2003 he became the Head of the Department for exhibition, film and new media at the Haus der Kulturen der Welt, Berlin. Since 1993 he had been a lecturer at Central Saint Martins School of Art and Design and a researcher at the University of Westminster. Merali`s work as an artist has been exhibited both nationally and internationally and he has curated over twenty shows in Europe and North America.
O’Callaghan was born in Ireland and immigrated to Canada in 1968. She was educated at National College of Art Dublin (now-NCAD), Sheridan College and York University in Ontario. She is a founding member and co-curator of the Tree Museum Collective near Gravenhurst, Ontario and a member of Redhead Collective, Toronto. O’Callaghan’s work extends from photo-based installation to site-specific sculpture. Since 1981, her work has been presented in solo and group exhibitions.
Obalil is the Executive Director of the Alliance of Artists Communities, an organization dedicated to artist communities, colonies and residency programs. Previously, she was the Director of the Arts Marketing Center & Research at the Arts & Business Council of Chicago where she authored ‘Barriers and Motivations to Increased Arts Usage Among Medium and Light Users‘ and edited ‘Diversifying Chicago’s Arts Audiences’. Obalil presents seminars on marketing planning, generational marketing, marketing research, public relations and customer service. She served on the faculty of Rhode Island School of Design, School of the Art Institute of Chicago and Columbia College Chicago.
Norbert Obrycki, born 1972, studied German philology, German history and political science at Universities in Szczecin, Greifswald, Vienna and Berlin. On the city council of Szczecin, he is in charge of cross-border co-operations. Since May 1st 2004, he has been manager of the Association of the Polish Municipalities in the Pomerania Euroregion and editor-in-chief of the cross-border magazine EuroPomerania.
Perram is the Director of the Bathurst Regional Art Gallery based some 200 kms west of Sydney, Australia. BRAG runs its residency program from two cottages in the historic 1872 gold mining village of Hill End, another 80 km away. Richard has a long history of working with funding bodies (Australia Council & Arts Queensland), art galleries and community organizations. He was the Director of the Australian Centre for Contemporary Art in Melbourne in the mid-80’s and Executive Officer of the Sydney Gay & Lesbian Mardi Gras in the mid-90’s.
Quadrio manages BizArt Art Centre in Shanghai, organizing exhibition and design projects: sourcing venues and sponsorships, designing spaces, dealing with the media. Over the last five years, he organized over 100 exhibitions and events in China and abroad, developing relationships with local and foreign institutions in China, building up the BizArt name. He works now in close collaboration with the French Government, Pro Helvetia, Shuion Group of Hong Kong together with AMS planning and research. He is responsible for the UK Art Council’s artists-in-residence project in Shanghai. Quadrio has been appointed Creative Director of Bund18 creative space and expert by the EU for event organization for Xi’an and Nanchang SME Promotion Centres.
As one of Singapore’s leading theatre directors, Tan led and inspired the The Necessary Stage from its birth. Committed to a vision of a Singapore theatre that reflects Singaporean needs, ideas and concern, Alvin has been responsible for much ground-breaking work in the plays he directs (Off Centre, Top Of The World) as well as in the other productions by the Company. Tan jas also undertaken arts education through the Theatre For Youth Branch and Community Service Theatre Branch. Alvin is currently on a year’s sabbatical at the University of Birmingham, completing his research for an M(Phil) in Theatre.
Staines is an independent consultant, researcher and writer with over 20 years experience in the cultural sector. Based in England, she has worked with many European cultural networks including IETM, EFAH, European Artists Pépinières, ELIA and RESEO. A contributor to On-The-Move website with articles on tax and global mobility, Staines is currently researching legal frameworks for independents in the cultural sector for IETM. She wrote “Working Groups” (EFAH, 1996), a study into the scope and impact of European cultural networks, several handbooks for visual artists and has researched arts and development projects in India. She has a BA in French and Romanian (University of London) and a European Diploma in Cultural Project Management.
Tannert is a curator and art critic, the current director and past programme coordinator of Künstlerhaus Bethanien, Berlin. Born in Leipzig (Saxonia /
East Germany), he studied archeology and history of art at Humboldt University in Berlin, receiving a Magister Artium in 1981. Tannert has been a freelance art critic for print media and a curator of exhibitions since that time. He has published many articles on visual arts, rock music, film and video art.
Tchozewski is the founder and Executive Director of the Global Greengrants Fund – a US-based international environmental foundation. He has helped to pioneer international re-granting as an effective means for private foundations, companies and individual donors to support community-based organizations in developing economies. Tchozewski is a founder of Grantmakers Without Borders and helped launch the Global Philanthropy Forum. He was a fellow of the Center for Social Innovation at the Stanford University Graduate School of Business. He is the recipient of the Council on Foundation 2004 Robert Scrivner Award for Creative Philanthropy and author of “A World of Missed Opportunities in Environmental Philanthropy.”
Tsoutas is the Executive Director of Artspace Visual Arts Centre in Sydney and from October 2005 he has been appointed Artistic Director of Casula Powerhouse (Sydney). He is an Executive Board Member of Res Artis. He was the director of the Performance Space (Sydney), the Institute of Modern Art (Brisbane) and was the commissioning curator for the Australian Pavilion at the 2004 Sao Paulo Biennale and ARCO 2002, Madrid. He has initiated many international conferences, including Globalization + Art + Cultural Difference (2001), Knowledge + dialogue + Exchange remapping cultural globalisms from the south (2004). He founded the performance group Allout E, the Network of Contemporary Art Organizations in Australia and is currently developing the National Network of Australian Residency Centres.
Tuerlings lives in Amsterdam, The Netherlands, the Director and Founder of Trans Artists. Maria is also the Secretary of the board of Res Artis and runs the Res Artis Office. She is also member of the Board and National Co-ordinator (the Netherlands) for the Pépinières pour Jeunes Artists, the European residency program and network for young artists. The current program, MAP XXL, includes 26 European countries and Québec. Tuerlings is member of the Advisory Committee of DAD-CH, promoting cultural exchanges between Switzerland and the Netherlands. Recently, Tuerlings was invited to the Board of Smart Project Space in Amsterdam.
Erik Van Ginkel
Van Ginkel graduated from the Law School of the University of Amsterdam in 1991. After a short career in management, he joined the Mondriaan Foundation as lawyer / secretary to the board. In 2000 he was the director of human resources at the Amsterdam based design agency VBAT Enterprise IG. Since December 2001, he is acting director at the Prince Bernhard Cultural Foundation, supporting 3.600 projects in the fields of performing arts, visual arts, history and conservation of cultural heritage. Van Ginkel is chair of the board of Trans Artists and also holds positions in the boards of a.o., the Stedelijk Museum Business Club and the Wertheimer Foundation for Dutch Photography.
Verstrate is IETM’s Communication and Training Officer, Asia Project Manager as well as general coordinator for www.on-the-move.org. She holds an MA in sinology and a postgraduate degree in marketing. Between 1996 and 2003 she worked in the commercial sector in China, while being active in the contemporary art scene there. She co-founded, and co-managed from 1999 till 2003, an independent arts space in Shanghai called BizArt. After her return to Europe, before joining IETM she worked with the KunstenFestival DesArts in Brussels as a press and public relations officer.
Wójcik, a multimedia artist and author of ideas, is curator of the place of art OFFicyna, He studied German philology and history, art history and theology and was manager and co-curator of the Live Art Festival in Szczecin. He has presented his artworks at number of galleries, projects and festivals throughout Europe.
San San Wong
Wong is a consultant working in strategic planning, research of artistic practices and conceptualization and development of initiatives focused on strengthening support systems for artists. From 1992-1997 she was development director and interim executive of Theater Artaud – a presenting and service. She then became director of the National Performance Network, setting standards for artistic fees, structuring residencies, providing grant support for the commissioning and touring of emerging artists and supporting risky work by more established artists.
Currently living in Beijing, Yang is an independent curator, artist and art critic. He is the director of DaDao Live Art Festival, China. He worked as an actor, designer and writer with Chinese contemporary theatre group “Paper Tiger Studio” since 2000 and has performed at “Nippon International Performance Art Festival” in Japan, “Heiner Mueller Theatre Festival” in Tokyo and “Liverpool Biennale” in the UK.
09:00–13:00 | hotels
09:30–12:00 | riverside
Advisory committee session
13:00 | riverside
13:30 shuttle | hotels –> afb/messe berlin
14:00–17:00 | afb
Art Forum Berlin professional preview
17:00 shuttle | afb/messe berlin –> hotels –> arena
18:00–22:00 | arena
Welcome, guided tour of arena Berlin, dinner on MS Hoppetosse
10:00–12:00 | mlh
Conference Program A International Artist Residencies: Sharing Cultures and Social Change
12:00–13:00 | mlh
14:00 shuttle | potsdamer platz –> ufafabrik
15:00–15:45 | ufa
Welcome and tour of ufaFabrik Berlin
16:00–18:30 | ufa
Conference Program B Models and Structures of Artist Residencies
group 1 Urban Residencies: Art and Community
group 2 Collective Work: Residence in the Performing Arts
group 3 Boundaries and Bridges – Artists Working in Transborder Projects
group 4 Art, Nature and Environment: Residences in Remote Retreats
group 5 Beginners: Creating New Residencies – What to Expect and How to Succeed
19:00 | ufa
Vernissage Anton Roca Exhibition “I am the Other”
20:30 | ufa
Global Banquet, new members presentations
23:00 subway/metro | ufafabrik –> hotel or berlin by night
Conference Program C & D are concurrent, please choose one
09:30 shuttle | hotels –> künstlerhaus bethanien
10:00–12:30 | kb
Conference Program C Artist Residencies in the Visual Arts
12:30–14:30 | kb
Light lunch at Bethanien | optional: Martin Gropius Bau exhibition tour
09:30 walk | hotels –> sophiensaele
10:00–13:00 | sop
Conference Program D Artist Residencies in the Performing Arts
13:00–15:00 | sop
Light lunch at Sophiensaele | optional: walk through galleries district
15:00–18:00 | c|ob
Conference Program E Tools for Mobility
Free evening, optional performances and shows
09:30 walk | hotels –> house of world cultures
10:00–12:30 | hwc
Conference Program F Transcultural Exchanges and the Role of Foundations
panel 1 The Role of Foundations
panel 2 Alternative Grantmaking: Private Initiatives and New Models
12:30–13:45 | hwc
13:45–14:45 | hwc
Politics of Fun exhibition – guided tour
15:00–16:30 | hwc
Conference Program G Curating Difference
17:00–18:00 | hwc
Res Artis General Meeting Members Session
18:00–18:30 | hwc
Free evening, optional programs (individual arrangements)
- In the Belly of the Monster, By Charles Esche
- Residencies and Nomadism, By Dr. Michael Haerdter
- 5 Action Points to Enhance European Cultural Co-operation
- 70 Cents for Culture
- Curating Difference, By Nicholas Tsoutas