This publication in-progress student project still in draft form

HAPPENING A COLLECTION OF INTERVIEWS AND EVENTS

HAPPENING

Layout designed by Jiawei Zou

A COLLECTION OF INTERVIEWS AND EVENTS Directed by Jacqueline Riva

A project of William Belloche

Anna Haudebault

Mégane Bignon

Julia Lebreton

Matthieu Boucheron

Typhaine Le Grelle

Maeva Bouchilaouene

Agathe Lolom

Lola Boumard

Améliane Jouve

Sacha Cardin

moilesautresart

Lucas Chaillou

Mélanie Matecek

Margaux Chalazonitis

Valentin Messager

Paul Charbonnier

Gwenvael Mottas

Anthoy Charreau

Gael Philippeau

Anne-Marie Da Costa Lopes

Alexis Remoue

Quentin Daudet

Julien Riou

Mathilde Durand

Lisa Robert

Joshua Durrant

Louis Robiolle

Justine Fremondiere

Lauriane Rouiller

Azusa Fujioka

Anastasia Simonin

Yue Gao

Pierre Soria-Piles

Misty Grellier

Luce Valdeyron

Alix Goupil-De-Bouille-Troistorff

Jiawei Zou

01

What do

It will have come to pass - Jacqui R. Networks and Contacts

you

- moilesautresart

know 02

Briefcase, interview with Sydney based artist Simon Barney - Valentin M. Lamp-post Gallery, interview with Christopher Hill - Luce V. The Telepathy Project, interview with the artists - moilesautresart Glovebox exhibition - Curated by Gwenvaël M. & Anna H. Gallery Hunt Kastner Artworks - Barbora L.

02

Praque- Art/Artist - Barbora L.

One on one 06

SSVAD - Payel S.

03

Collaboration or participation or collective

L’Edition Libre - moilesautresart How to make a publication. - Mathilde D. & Julia L. Artfan, a contemporary art review magazine to read - ACW In the hall, too sad to tell you - Paul C. Virtual exhibition - Louis R.

26

A salad - Anastasia S. Arte Por Kilo, a project by - moilesautresart How to do a street art party - Mitsy G. Octo-Verso - Quentin D.

04

Let’s do it outside 42

Commercial galleries, short interview with the Annex - Lola B. / Pierre S. / Louis R. / Gaël P. Diverse strategies to exhibit for the first time - Louis R. & Gaël P.

05

Probably not the best place

Statue of designer - Margaux C. & Lauriane R.

to start

From

06

58

atelier to

TCB Gallery, 1999-2018 an interview with Sharon Goodwin - Sasha C. More Fools in Town, interview with Geoffrey Lowe - Matthieu B. Interview with Adel Cersaque - Margaux C.

gallery

Interview with Pierre Feuille Ciseau - Margaux C. Glassbox, interviews Stéphane Doré - Alexis R.

space 66

Salon Montrouge, Matthieu interviews Marie Gautier, one of the curators Mathieu with Luca?

07

Prize supprise 74

Where

08

does

CALL FOR APPLICATIONS

money come

Mini Maousse Contest

The

City of Architecture and Heritage - Alix G. , Justine F. & Typhaine Le G.

grass is

from 76 Hao Guo, Chinese artist runs a school for students to study abroad - Yue G.

09

always greener on the other side 80

i 03

What do you konw

Jacqui Riva It will have come to pass

05

moilesautresart Networking according to moilesautresart

02

chapter i

Networking according to moilesautresart Networks: Have to be understood here as interconnections between groups or systems.

Contacts: Contacts are people with whom you are in -more or less- close association or communication.

We suppose that sometimes we feel afraid and distressed about networking. We suppose that sometimes there is a voice in your head saying « I HAVE TO make contacts, I NEED to network » but you feel as if you’re facing a wall. It can take some time before you’re comfortable with this.

In our case, networking is an important part of our work as artist.

We consider networking as a work in itself. Networking is for us a natural process. We work collectively because we really need a network to exchange our opinions, share our ideas.

We are friends because we respect each other, we trust each other, and because we are interested in each other.

We work together because we respect each other, we trust each other, and because we are interested in each other.

Networking is linked to your interests and your capacity to share your interests. Networking is based on your ability and motivation to communicate and share your ideas. In fact, networking

03

is making contacts and making contacts is what we do all the time. We think that networking is deeply related to sociability and friendship.

Whose work are you interested in ?

Who are the people you would like to share your interests with ?

It’s very pleasant to know people who share some of your interests. It’s very pleasant to share interests. Networking is like signing a non-commercial contract, on the basis of free-trade, with people you meet, something that is -in the beginning- pleasantly tacit. You can easily network without even being aware of it.

We have a lot of friends with whom we are collaborating on different projects.

We met these friends at school, during workshops or school exchanges, at parties... etc. The context in which we have met these friends is very important. Each context of confluence -as a workshop- is a moment where people join together in common interest.

Example: In 2017 we met students from Marseille’s Fine Art school during a workshop in Paris. We had the same course. Now these people are our friends. We have a lot of interests in common and we like to collaborate. We share information : ongoing events, references such as books, films, artists, artworks...etc.

In 2016 we began L'édition libre. L’édition libre is a participative and collective publication. The main editorial line of the publication is to not select or form any hierarchy of it’s content. None of it’s participants are named. The publication’s aim is to question the notions of intellectual property and image rights, as well as the place of an individual in a group. To take part in the publication we invite people to send us their content and theirtitles to a dedicated email address. The aim of L’édition libre is the development of a collective platform, which makes connections between art students in the publication. In fact, the function of L’édition libre is based on the « publicity » we make about it. We often introduce the presentation of our practice talking about L’édition libre.

Most of the participants of L’édition are acquaintances or friends. Sometimes participation to L’édition libre maintains friendships.

People you feel good with, may be people you could work with.

“If I am to lead a good life, it will be a life lived with others, a life that is no life without those others. I will not lose this I that I am; whoever I am will be transformed by my connections with others, since my dependency on another, and my dependability, are necessary in order to live and to live well.”

(Judith Butler in Can one lead a good life in a bad life ?).

04

chapter i

05

ii

08

One on one

Valentin Messager Briefcase, interview with Sydney based artist Simon Barney

14

Luce Valdeyron Lamp-post Gallery, interview with Christopher Hill

16

moilesautresart The Telepathy Project, interview with the artists

19

GwenvaĂŤl Mottas & Anna Haudebault Glovebox exhibition

06

20

Barbora Lepsi Gallery Hunt Kastner Artworks

23

Barbora Lepsi Praque- Art/Artist

24

Payel Sutradhar SSVAD

07

Briefcase, interview with Sydney based artist Simon Barney De: MESSAGER, Valentin <vmessager@esba-angers.fr> Ă : briefmail@gmail.com Date: 18 avril 2018 Ă 16:27 Objet: Interview Dear Simon Barney, I would like to interview you about your Briefcase project for a publication as part of a course directed by Jacqueline Riva from A Constructed World, the collaborative project of Jacqueline Riva and Geoff Lowe.

We are interested to investigate how we can make networks and contacts and it occurred to me in your project you used your contacts to begin this gallery.

I will proceed with the question in anticipation that you will kindly accept this invitation.

1 - Why did you choose a Briefcase as a gallery and not a classical gallery ? What was the art world situation at the time that lead you to this kind of project ?

2 - How did you choose the artists that you wanted to exhibit in this project ?

- And where did you exhibited this Briefcase and what happened during the opening of this Briefcase, and what is the difference with a vernissage in a commercial gallery ?

3 - How did you fund Briefcase ?

4 - What kind of people did you invite to the exhibitions and who actually came to them ?

5 - What kind of feedback did you received ? Good or not, why people react like this ?

6 - How long did you make the project for and what was the reason for closing Briefcase ?

7 - What did you, personally, get out of making this gallery ?

If there are too many questions please feel free to omit anything. I very much look forward to hearing from you. And thank you.

Best Regards, Valentin Messager

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chapter ii

De: Simon Barney <briefmail@gmail.com> à: «MESSAGER, Valentin» <vmessager@esba-angers.fr> Date: 19 avril 2018 à 00:22 Objet: Re: Interview Valentin, I’m happy to do it. I’ll aim to get it back to you this weekend. Interesting to think about it again. S De: Simon Barney <briefmail@gmail.com> à: «MESSAGER, Valentin» <vmessager@esba-angers.fr> Date: 23 avril 2018 à 04:28 Objet: Re: Interview 1 - Why did you choose a Briefcase as a gallery and not a classical gallery ? What was the art world situation at the time that lead you to this kind of project ?

I’d run, with Chris Fortescue, a gallery called SOUTH. 80 sq metres, group shows we organised, and solo shows. At the end of one year we did a summer touring show called Glovebox. We arranged artists and vehicles and a rooftop car park one evening. The work went in, or was built into, gloveboxes. After the opening the work ‘toured’ in each vehicle. The gallery was in a former rag trade building. It seemed these kinds of artist run things always took advantage of space that was cheap - for which there was, momentarily, no obvious use. (Clothing manufac- ture had moved to China.)The glovebox seemed like that same sort of space in a car. Usually full of junk, not really needed.

The briefcase gallery related to that - though the truth is - and this sure is a cliche - it came to me in a dream. When I woke up I thought it might be worth a try. I wasn’t sure what reaction it would get. The first night in a pub we all sat around one table. But it was a hit.

Artist run galleries often have big openings then go quiet. But there’s rent and weeks sitting the place - for only a few more visitors. I figured I was keeping the good bit. Why model yourself on a commercial gallery format?

09

2 - How did you choose the artists that you wanted to exhibit in this project ?

People who came along, were interested, had a suggestion for something. Group shows I often took work from whoever wanted to put something in. An early show of A4 drawings had about 60 artists. Most of the work went in the case at the opening. So it was easy to organise and I got a crowd.

- And where did you exhibited this Briefcase and what happened during the opening of this Briefcase, and what is the difference with a vernissage in a commercial gallery ?

We opened in a pub - Tuesday nights - a quiet night - at 6. After that I carried it where I went. So you’d see it at other galleries. I had a sort of protocol about not opening the case in the work of other artists.

The pub was a more relaxed place than the hardscape you find in galleries. People said that, among the galleries, Briefcase was Switzerland, neutral. At first it was mostly tings put in the case - drawings, paintings, photos - we had a ‘Kiss a Curator’ prize for the best photo of an artist kissing a curator - drawings, objects. People would take them out to look at them. So- metimes something was constructed in the case - one artist, Elizabeth Pulie, made paintings based on the fabric lining the case, then attached them, one in the base, one in the lid. But later the work was more often an activity. Craig Schuftan performed on a kind of keyboard and mixer, with cassette tapes. So the case was like a DJ table. There was a tracing show - drawings from various artists and a lightbox - so you could make your own copy of a drawing you liked. ACW had a Castro costume in the case.

People could dress in the gear and pose for a photo. We had a T-shirt show and a necktie show - after a critic we didn’t like tried to start an art necktie business. The most extreme was when Lucas Ihlein and Simon Cavanough decided to blow the case up - destroying this symbol of Capitalist Oppression. Great.

That was at a time when there was a lot of discussion about the renovation of a contemporary museum here. I decided not to renovate, but to demolish and start again. The original case had come as part of a vodka promotion that Kathy, my partner, received at work. Later we realised a former colleague had also received one, so I had two identical cases and could give the next artist a case to work with while the current show continued. Another

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chapter ii

case turned up, silver, larger, I can’t remember what it was promoting. A colleague of Kathy’s had received it and was willing to give it up.

So Lucas and Simon gave me a case with some anti-capitalist material in it, which I set up on the bar. They stormed in wearing balaclavas, shouting slogans, and took off up the street with the case. We followed them around the corner to a laneway, where we heard more about the oppression the case was causing. Then they blew it up. Spectacular. The lid flew in the air and disappeared into a back yard. They took off down the lane. I gathered the remains of the case and put them in the new, slightly larger case, and took it back to the bartop in the pub. It was all pretty haphazard. A friend of theirs who was making a video hadn’t been told what was happening and was a bit too close to the action. The guys from the bar across the street had seen the two hooded men taking off with the black case and had assumed they’d stolen the till from the bar. They’d run over to help. This was before 9/11.

3 - How did you fund Briefcase ?

As you can see, I needed no funds. Even the cases I got for free. Invitations went by email and everyone bought their own drinks. My only cost was do- cumentation - I took slides and photos. I just had to organise to meet the next artist and hand over the case. For the group shows I’d contact artists, collect work, or wait for it to go in the case at the opening. Easy.

4 - What kind of people did you invite to the exhibitions and who actually came to them ?

Artists mostly, some dealers and a curator or two would turn up. Numbers varied, but group shows packed the pub.

5 - What kind of feedback did you received ?

Good or not, why people react like this ? It re- ceived a lot of press. I was known from doing SOUTH and always sent a press release to media. In those days the newspaper was still a thing and had midweek reviews. I realised I needed to write something quotable, then it would be used. But magazines and radio also covered it. When I did a mix tape show, around 2004 I think, it was a news story. Page 2 with a photo. Art publications did longer stories with more detail. I had pieces in a few zines. I was in a museum show called Situation at the MCA in 2005 - because of the case. But it didn’t really fit in a mu- seum. There was no point, that didn’t add anything - in fact, it reduced it to something static.

11

While doing it I’d become aware of others doing similar things - backpacks and transparent cases and so on. But when I looked into it we all had very different projects and very different thinking behind what we were doing. Often people would say, Oh yeah, Duchamp.

But his case was the opposite - designed for the museum, a miniature display of what they couldn’t all have. For this case to operate it had to be outside the museum. The only successful work with a museum was with the state archives. The case in that instance was a collection of dud slides - various artists. Slides were the currency of art in those days. We wanted the duds. I did it as a regular show, we had a projector at the pub and after that everyone used a slide viewer. At the archive it all went in a glass case with a small projection showing the 80 slides. That was when I had two cases, so locking one up was OK. The archive had the slides copied and kept a set.

6 - How long did you make the project for and what was the reason for closing Briefcase ?

From 2000 to 2005. Shows every two weeks except in summer. There was a bit of a lull in part of 2004 I think. After I did the show at the MCA - Situation, I decided I’d run out. That was the only occasion things were horrible. Finally I’d ‘got something’ from doing it and the vitriol was surprising. That wasn’t the only reason - it had been solid for three years and more spasmo- dic over the last two. You run out of energy. I’d thought it was a model for artists doing things in ways where they had the advantage - not where they were overmatched by those with the funds. The case was light and could react quickly. I thought there must be lots of other ways ar- tists could show work without waiting for attention.

But it didn’t happen. Most people seemed to want an artist run gallery that is like a ‘proper’ gallery, where they can show how their work is ready to ‘graduate’. With the case I realised you could just invent yourself. Make it up. Going through the usual channels it is much harder to get noticed.

7 - What did you, personally, get out of making this gallery ?

A social life!! Mainly it was a way of exploring. Trying things, learning things I hadn’t expected. There were a lot of group shows with some kind of theme. So it meant I was regularly making work to be part of what ever was going. Make work, show it, move on to the

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chapter ii

next thing. Sometimes that’s a good way. Not long after starting it a friend told me about relational aesthetics. I hadn’t heard of it. The case was of- ten seen in relation to that. At SOUTH our first show had been Pillow Talk, artist’s beds. Thiswas end of 98, well before Tracey Emin. Chris was particularly into getting people out of their comfort zone, doing something they wouldn’t usually do in the studio. We had a show called Pin. There were still rag trade suppliers in the area and we bought a huge quantity of dress- makers pins.

We invited artists to be in the show - which meant hanging around and trying to cover all the plasterboard walls with pins. We set up a stereo system and hung out. Later, in a show in Vienna, he and I gave haircuts in the gallery. Neither of us knew what we were doing. We realised that made I t more intimate - it was a kind of trust. I did a show in the case called Paint Job. I built a kit all set out in foam inserts in the case, files, varnish and so on. I couldn’t do nails either, but I did. It meant I had to hold your hand. I took that to a show ACW organised in New York. It was late September after the towers had come down.

People liked having someone hold their hand and listen to their stories.

I only have good memories of it. We’d started In one pub, but moved to one called The Hol- lywood. It was a great scene there. Maybe because the case was diminutive, everyone seemed to respond to it. One early show was a case of feathers. It left a trail - every time you opened it something escaped. I used to say, regular galleries show work when it’s finished. With the Briefcase, the work begins when you open the lid.

13

Lamp-post Gallery, interview with Christopher Hill Luce Valdeyron "My Memory of the space and it's intentions are a little rusty and it didn't have an online presence, so records and memories are lacking, sorry. But hopefully some of the answers are helpful."

- What was the art situation like in Melbourne at that time?

At the time that "Slippn'" ran there was quite a few artist run and institutional spaces in the area (Fitzroy). Although the idea of the space was probably more important than it's exiting, that a gallery could just be a knot hole in an electrical post. Also that it was independent, and open air and quite often pasted over with posters and flyers gave it an energy that roofed and walled galleries don't always have.

- Was this project in reaction to something that bothered you?

It was in the spirit of anyone being able to start an artspace as a celebration, but also a reaction to not being able to afford to rent a space, other spaces being too professional or commercial. It's size also was a joke in relation to lack of spaces available in some way. I should also note it was between two galleries I had involvement in: Clubs Project, and Gertrude contemporary which had a small letter box gallery in their doorway called Slide, so it was like an anti private space to this. The name coming from slipp n slides ( https://www.ebay.com/p/Wham-O-Slip-N-Slide-Water-Slide18-Ft-Wave-Rider-Splash-Factor-62049/1308148704) - What kind of work(s) did you choose to show there and why ?

There were three shows, I think. A solo show by me that related to a show I was doing at Slide cocurrently, which in turn related to a show at Clubs six months latter give or take. The other two shows were by friends who asked to show there, then also the 14

chapter ii poster which blocked the space were un official shows. My show was filling the space with pebbles and a panel of rainbow wrapping paper below the space, James Deutsher's show I think a dragon in it... And Hao Guo had matches I think, it was a long time ago and I can't find the documentation that I did have of it...

-How did you inform people about the exhibitions? Who did you invite to openings?

(Did you refer to existing contacts, people you knew, or did others come?) I think the openings were parasitic at the same time as the shows across the road. But as the exhibitions didn't last long before being covered, cleaned of by council or taken, it was more conversational, than people actually seeing the space.

-What does this project say about our relation with public space ?

It relates to property and peoples interaction with it as art, commercial, graffiti, advertising, play, and hopefully challenges people's feelings of alienation with the public space, or at least gives them ownership over common space, that they too could occupy public space for their activities.

- Did the exhibitions have any response from art critics, were any of the shows written about?

Not that I can remember, but it has entered conversation that overlaps an array of communities around the arts, and this is it's active critique, as a mystery or concept.

-What is the name of the gallery, and when did it start and finish?

The space was called "Slipp'n" and ran for 3 months in 2004-5

15

The Telepathy Project, interview with the artists moilesautresart

21:22

This is an interview of The Telepathy Project (Veronica Kent and

me: I like the way that my

Sean Peoples) made by moilesautresart (Cathie Bagoris, Lila

idea of an arts practice

Retif and Beth Gordon) by email exchange. The Telepathy Project

has shifted

are Australian based artists engaged in a critical practice based

I understood and loved

on the possibilities of alternate forms of communication. Tele-

conceptual practices but

pathy and dreams serve as extended metaphors and working me-

its not until I was actively

thod through which they explore alternate ways of being, commu-

involved with one and be-

nicating and collaborating, and act as the premise for the setting

gan to think of everything

up of encounters that test and provoke such relationships.

we do in relation to each other as (potentially) part

moilesautresart : You were students at the VCA and at the Uni-

of our practice that I really

versity of Melbourne, and like any art school education, you were

got it.

training to be solo artists. Why did you feel the need to work collectively?

The Telepathy Project : There was no need, well not one we were aware of until we were so deep in there was no turning back. We started working together in response to a subject called “The Collaborative Contract” that all undergrads at the time across the schools of the VCA undertook in 3rd year. It asked that students to get into groups and develop a collaborative project. In an initial cheeky dig at the subject and a direct reaction to the demand that collaboration is that easy, we declared that our project would involve us learning how to communicate telepathically. Over the course of the semester our attempts at this developed into a complex and nuanced arrangement that saw us use ourselves and our relationship as the material for research into the idea that ‘Telepathy works best between people that are intimately linked (ie in love). Here’s a funny online chat from 2006 where we start to realise how special it was to work together collaboratively and how it opened up our understanding of how we might practice going forward.

16

chapter ii moilesautresart : What are the differences in between working collectively and as a solo artist?

The Telepathy Project : For me (Veronica) working solo is a silent endeavor, it all happens in a closed circuit between my head and hands while collaboration is a raucous conversation. What I value most about collaboration is that it takes me to a place I would never go alone. I love having someone else to test ideas against.

Learning to negotiate with grace – thinking carefully about what’s worth fighting for and why. A really useful strategy we have used over and over again is to uncover the “logic” of what we are doing – even if that logic is wrapped around an absurd premise. If we can do that, it’s then possible to test our ideas against this logic rather than against each other.

(Sean adds) Also worth noting that our solo practices are studio-based while our collaborative work is almost always project-based and in response to an already existing prompt. These are two really different ways of producing work as we mostly have a concrete goal we are working towards collaboratively while in our solo work this isn’t always clear. As Veronica says uncovering the logic of a project is really important for our collaborative work while for my solo practice there isn’t this same demand.

21:25

moilesautresart : Your collaborative practice includes the parti-

snppls: you sum it up there

cipation, or collaboration, of other people, what does that add to

for me too me: o, we are good together

your project and what do you think they get out of it?

The Telepathy Project : Others bring skills we don’t have, dreams we don’t have, spaces and places we don’t inhabit, ways of

snppls: i dont feel rushed to

knowing the world outside our own. The desire to make and find

make work and stuff now

alternate ways to make knowledge with someone else sits at the

this year that is

heart of our project. Having others involved allows this to be a continually evolving experience for us. It also stops what we do

me: but we are making all the

simply being a performance played out between Sean and Veroni-

time

ca that is observed from the outside (by an audience) and instead it becomes a series of relations and negotiations.

I’m not sure what other people get out of it. People do seem to 17

enjoy the space of being able to talk about things like telepathy and dreams. People are always telling us stories about their extrasensory experiences.

moilesautresart : We are particularly interested in how you build a network of people to be involved in projects. How did you know the people invited to participate in the first projects? Did this change after you had made a number of projects? How did you widen your network?

The Telepathy Project : Our first projects were made at Art School. We invited our fellow students and teachers to be involved.

From there the people we worked with evolved in different ways.

The most immediate was that some of those first collaborators (the students and teachers) then invited us to make work with them – For instance, this is how we fist started working with A Constructed World. We invited ACW to open a show we made in Australia telepathically from where they were in Turkey. They then invited us to make a performance with them. And so on...

This relationship with ACW, inviting each other to be involved in projects, has continued for over a decade now.

Other key ways we have found collaborators and participants is via the institutions (museums, festivals etc.) we have worked with over the years, tapping into their networks and/or working with particular communities or interest groups – I think our subject matter helps here too. For instance we often invite people to participate in projects that involve them sharing a dream that has somehow been provoked by a situation we have set up. People seem happy to share dreams. Hundreds of members of the general public have shared dreams with us over the years.

We also rely heavily on friends and family. Veronica’s eldest daughter in particular has performed in many of our projects over the years.

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chapter ii

Glovebox exhibition Curated by

Gwenvaël Mottas & Anna Haudebault

FROM BMW IN A BMW WE CAN GO EVERYWERE. ARTISTS PLAY MUSIC. YOU DANCE. FREE. IN THE BMW.

19

Gallery Hunt Kastner Artworks A interview

by Barbora Lepsi

Gallery Hunt Kastner Artworks was found by two women five years ago.

One American origin with Czech ancestors Katherine "Kacha" Kastner and Canadian Camille Hunt choose to represent contemporary young artists and through the difficult beginnings they became the leading Czech gallery scene.

In December, you celebrated a five-year anniversary. Can you retrospectively review your previous activities?

We are very pleased, fortunately it is better than we originally hoped for.It is said that business is a fifth year breakthrough, and I think that's true.On the other hand, I feel it has fled very quickly, we are still considered a young gallery.For the first two years it was, of course, very difficult.The sales were minimal, the collectors did not take us seriously, and the artists were not sure If they want work with us.The first year we were just looking for ways how commercial galleries can work at all, because here there are almost no galleries that would function in the classic "western" style and have worked with artists for a long time.We did not have any advice, so we tried different ways to guide the gallery.The second year we went to the Liste to Basle fair trade of young art, which we consider to be a fatal moment.Not only were we accepted in the competition of 300 galleries from all over the world, and they were able to show our artists for the first time, but it also helped us personally to talk to other galleys and gradually to gain experience.

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chapter ii

From the list of your activities, it is obvious why you have been called the most successful Czech gallery. Does that impact on sales?

Of course, some artists sell better than others, but that's normal.

At the beginning we did not have any Czech collectors, just a few names, thanks to previous contacts. Only when we returned from the first fair may have said that Czech young art would not be so bad when interested in it abroad. We have an exclusive contract with our artists, so collectors have to shop through the gallery.

Luckily, they are beginning to get used to artistic operations like this, and that the gallery has a strong place among an artist, collector or exhibition institution. On the other hand, it's a little ridiculous to say that we are the best when there is almost no competition.

Do you feel that the number of Czech collectors is growing?

It's hard to tell if the number increases. Czech collectors are very conservative, basically They buying only painting and are also very careful. That is, they decide for an artist who has already built a certain position. For example, in 2006, when we organized the first exhibition of Josef Bolf, only one picture was sold, even by foreigners. The fact that more collectors come to us today does not mean that he is collecting more people, but rather that our artists are better known and people are no longer afraid to invest in them. This is true for Bolf or Jirka Thin, or the contrary Eva Koťátková has more collectors abroad. As a big problem we perceive that they do not buy Czech institutions. We have great artists who belong to their collections, but they wait and then complain that their price is too high.

What do you think about the current situation in Czech museum institutions and the position of curators?

It is a great shame that the best Czech curators of contemporary art work independently. Perhaps the only exception is Ondřej Chrobák in GASK, but others work basically "from home". It is an unsatisfactory situation for both Czech institutions and for us commercial galleries, because there is absolutely no platform for international discourse. Our whole artistic scene is too inde21

pendent, fearing links with institutions. And, on the contrary, they need new blood because they stagnate and do not reflect what is happening. Imagine if the National Gallery had a curatorial team of people like Pavel Vančát, Edith Jeřábková, Tomáš Pospiszyl or Jan Zálesak. ( Czech important curators) What are your next plans?

We are very happy, but we must not stop or take a rest. Although we said our position is better, we do not feel it would be easier.

On the contrary, we have more work, which is of course good. We would like to have more space as a proper warehouse or depository, but due to the low budget we do not want to limit the activities of the gallery. Still thinking about how to continue working what might work. The commercial gallery system is constantly changing and the relationship between the gallery and the artist is complicated. Here in Bohemia, most people think the gallery is a clean space for the sale of art, but we like to do curatorial projects, be part of the process. We have the freedom to do what we want.

Gallery Hunt Kastner Artworks is located in Kamenická street in Prague's Letná. In her portfolio there are many well-known names of the contemporary Czech scene such as Josef Bolf, Jiří Thyne, Eva Koťátková, Jiří Skala, Jan Šerých, Tomáš Vaněk or Alena Kotzmannová. He is constantly exhibiting and selling his artists at leading foreign trade fairs, while also participating in a number of non-commercial projects. /www.huntkastner.com

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Prague- Art/Artist Barbora Lepsi

Artistic scene in Czech Republic is mostly concentrate in Prague. In Prague are there most important schools of Art in whole country and lots of galleries. Its something like close circle, because visiters of exhibitions are mostly artists itself. Artists know each other and on one side, Prague is really competative space. We have lots of no state galleries, lots alternative spaces where is possible to exhibit art. I choose Hunt Kastner, because it is one of the most sucefful small galleries.

They exhibit Czech contemporary artist and I think they do it in good way. Exhibitons there are always interesting. A lot of galleries is located in Zizkov. There is also Drdova Gallery which exhibiting contemporary artist, Gallery 35m2, Nevan Contempo.

The well know gallery is Futura, exhibitions there are always curated by Michal Novotny who is one of the 20 most influential european curators via Magazin Artsy.

In Prague exists two big spaces for exhibitions and also like a residence for artists, there are also music koncerts happening. One of them is called Meetfactory â&#x20AC;&#x201C; it is space for artist, exhibitions, concerts, theater. It is owned by David Cerny well know Czech skulptor. The other one is Karlin studios, there are more interesting exhibitions I think.

The other galleries are Tranzdisplay Svit, Galerie Jeleni, Zahorian van Espen. In Prague exists maybe about 30 galleries and It is hard to choose sometimes. The most artistic space is on district Letna, where is Academy of Fine arts, and lots of galleries around. Academy of Fine arts have also own gallery in school, where students can exhibit. It is open for everyone. On Academy is happening lots of discussion with artist and theoretics and curators. Academy of Fine arts is really open space you can do what you want. On school teach best artists and theoretics, curators from Czech Republic. There is about 300 students at all, so everyone no everyone. It is really interesting space, but as I say If you want to be an artist, It is really competative space and you need to speak loud and dont be shy.

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SSVAD

Payel Sutradhar

SANTINIKETAN SOCIETY OF VISUAL ART AND DESIGN (SSVAD) SSVAD is an alternative art centre and residency program in the village of Santiniketan, about 160 kilometers north of Kolkata. It is funded by people involved in the centre, donors, artists, and through the sales of edition works by prominent Indian artists.

The centre offers a platform for students straight out of art school, providing them with studio spaces and the opportunity to meet and network with other artists and international guests.

Interview with founding members DILIP MITRA AND GAUTAM DAS, done over the telephone from Paris to Santiniketan [Dated: 4th may 2018] PAYEL SUTRADHAR: WHERE DID THE IDEA CAME FROM? In 1989, a group of teachers - Prof. Jogen Chowdhury and Prof.

Janak Jhankar Narzary, renowned artist Sri Bipin Goswami, and few ex-students of Kala Bhavana, Santiniketan, came together with the idea of creating Art Society - a center for community living and art practice in Santiniketan. In 2003, this society was registered as the ‘Santiniketan Society of Visual Art and Design’ (SSVAD).

PAYEL SUTRADHAR: TELL ME ABOUT THE JOURNEY FROM 1989 TO 2003?

Initially, 12 members invested money to purchase a land for the society at Sonajhuri Palli, West Bengal. Post which, we sought help from almost 400 artists from India to build the society. We received a positive reply from 150 eminent artists from India.

These artists sent us their works. While we retained the original works at the SSVAD, we made and sell sills screening portfolio of these works. And managed to collect Rs 70 lakhs from the sales.

Let’s say when we started with this dream of creating art society; art lovers and other artists opened their arms to help us build SSVAD. 24

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PAYEL SUTRADHAR: WHAT WAS THE OBJECTIVE BEHIND STARTING SSVAD? We realized that once graduated from Santiniketan, most students move away to different places and lose connection with each other and other artists. So we intended to build a place where Santiniketan based artist can stay and work together.

However, over the years, with various facilities, SSVAD has evolved into an ideal working platform for artists, especially for the young and upcoming artists. Today, SSVAD provides studio space to the passed - out students who lack studio to continue their practice.

PAYEL SUTRADHAR: WHO CAN AVAIL THE FACILITIES AT SSVAD? After passing out from art school, students can apply for the studio space. SSVAD offers art residency opportunity to the artist from other state and other countries. Students can avail facilities such as studio space and accommodations with minimum charges. They can also consult its library and archive and use its facilities for experimenting and researching with new ideas, concepts, and materials.

PAYEL SUTRADHAR: WHAT IS THE PRESENT SITUATION OF SSVAD? At present, the Centre has three studios: one each for painting, printmaking, and sculpture and ceramics. The printmaking studio has been developed with a new etching press which has been donated to SSVAD by the artists of Bangladesh.

The Centre has a large exhibition cum multipurpose hall, a permanent display hall, and a library. There is also a small archive with computers and other electronic equipment attached to the library. Besides, there is also a guest house (can accommodate 12 guests at a time) and a cafeteria. There is a large green space with an open-air stage at one end, for various cultural activities.

PAYEL SUTRADHAR: HOW MANY MEMBERS SSVAD HAS AND HOW THEY WORK? Currently, SSVAD has 24 members who share the responsibilities of running the Centre between them. After every 3 years, they change their responsibilities.

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Collaboration or participation or collective

27 moilesautresart L'ĂŠdition libre 29 Mathilde Durand & Julia Lebreton How to make a publication?

What's happening in design?

30 ACW Artfan a contemporary art review magazine to read 32 Paul Charbonnier In the hall, too sad to tell you 36 Louis Robiolle Virtual exhibition

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L'édition libre moilesautresart 1 - All about money We started a publication in 2016 called L’édition libre. Here is, very practically, how we do it.

L’édition libre is a free publication of around 44 pages (including the cover), printed in color on A3 folded pages. It is produced at the art school printery, using the cheapest paper available (0,10 cents per page(. We print on average 50 copies for a total of 55 euros, with an additional cost for the binding made of elastic. The price per copy is 1,10 euros.

As most of the participants in the publication are from the school, and as we are distributing L’édition libre at school, it is the ABAHO, a school association, that gives us money to print it. That’s why it’s free. So far, we have only payed for the elastic bands.

Every student, every year, pays a small fee to the ABAHO association. This money is collected for projects and students can ask for funding, which is requested and then approved by the director of the school and the members of the ABAHO. In 2016, we had a meeting with the director to have his approval.

During this meeting we discussed the project and its policies, especially related to censorship, as the name of the school is associated with the publication. Since this meeting, every time we want to print a new issue we ask the director’s secretary, Corinne Arrivé, to renew the authorization.

Once we have the authorization, we estimate with Virginie Pouliquen, from the printing department, how much it will cost precisely (the publication is on average 44 pages but it can vary due to the page layout). We give the estimation to Corinne Arrivé who calls the president of the ABAHO and asks him for the money. He drops of a check a few days later, that we then have to cash into one of our accounts. With this money we buy a school payment card . With this card we pay back the school’s printing departement (I say pay back because usually we publish it after the estimation of it’s cost) 27

2 - All about people L'édition libre is a participative publication, which means we are not the main contributors. As said above, most of our contributors are from school, because most of our friends are from school.

When we started this publication, we sent an e-mail to the rest of the school, explaining the project. Because it was one of our project, we also spoke about it during classes and our «espaces critiques». Then, when the first issue came out, we gave it out for free at school, and made Le bureau des statistiques, a performance where we asked students and teachers questions related to the publication, while showing copies of the publication. In the next issues, we published graphics made out of the answers. Le bureau des statistiques was a way to create an event around the publication.

Every time we have a new issue, we also publish it online on issuu. com. Then we share the link on social media, and send an email to the students and teachers reminding them of how L’édition libre works. Sometimes we tag some friends on facebook to remind them to participate.

We do not really invite specific people to participate ouside of «tagging »them on facebook. In theory, anyone can contribute to L’édition libre, as long as they have an email adress. But our circle of participants is as big as our social circle.

Since the begining, we have met people outside the school, during workshops or internships, to whom we spoke about L’édition libre.

In Mexico, we made a small trilingual card explaining the project.

We found that these cards only worked with people who then became close friends.

Because it is an anonymous publication, the participants do not contribute to gain money (the publication is free) or visibility. They accept to sacrifice their autorship by participating in L’édition libre.

Maybe because of this « sacrifice », most of our regular contributors are friends. We guess they are participating because they are happy to share something with us, and so they do not see it as a sacrifice. Because we are dependant of their participation (without it the publication does not exist), we also see their contribution as a mark of care : they care about what we do and they are willing to give us more things to do.

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How to make a publiction?

What's happening in design?

Mathilde Durand, Julia Lebreton

At the School of Art and Design of Angers the number of students in option art is higher than the number of students in design (ex: 34 art for 7 design in the fourth year). In addition the design building is on the other side of the street, which brings a low visibility of the works, workshops, methodologies.

A publication could share the work of students throughout the school. And that would bring communication between the whole school.

First, send an e-mail to the design students explaining the intention. Then move into the workshops, speak directly with the students, and collect images, texts, drafts, ideas etc.

The edition would contain the documents collected in a simple layout, the name of the students and the year. Every month a new publication will be produced and distributed by mail and in paper version made available in the two halls options. The evolution of the projects could also be visible through the different numbers.

In addition to a sharing between the options it would be possible to give an overview of the content of the option and inform the first year, who will have to make a choice between Art or Design.

As well as showing the topics of thesis, personal projects, displays, and the progress of the 3rd and 5th year diploma.

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Artfan a contemporary art review magazine to read ACW Artfan magazine was founded by A Constructed World in Melbourne in 1993. Adrian Marshall designed the logo and layout of the magazine and worked with ACW on issues 1-9. Issue #10 was produced in collaboration with the Serpentine Gallery London and includes ACW projects made during a residency at the Serpentine.

The next issue is forthcoming.

Artfan aims to redress the voice of the evaluative reviewer by encouraging various opinions and attempts to describe how contemporary art is looked at. Generally four people review an exhibition resulting in 150 word responses by a critic, an artist, someone from another profession and someone who represents the general public (someone who says they donâ&#x20AC;&#x2122;t-know about contemporary

#10 Autumn 2002

art). Through this format Artfan explores relationships between

cover image ACW

high levels of specialization and amateur language by placing

produced in collaboration with

different and competing voices next to each other.

Serpentine Gallery London

Artfan looks for the capital and exchange that exists outside of the market and for this reason there is no advertising and no funding, with each new issue produced from the sales of the previous one.

(Some sponsorship was obtained for a couple of issues and also in-kind support.) Over the 10 issues hundreds of people have participated and contributed to this project; issue #3+4 has over two hundred contributors alone. The initial project focused on what was not appearing in art magazines and newspaper reviews at the time, valuing hear-say, what people overheard, unformed opinions, discourse and feedback. It acknowledges that many people engage and encounter art without ever entering its market.

Many now well-known artists and critics have contributed to Artfan; Maurizio Cattelan, Tracy Emin, Stephen Prina, Sarah Seager, Vanessa Beecroft, Sam Durant, Moshekwa Langa, Vasif

# 8 Summer 1998 cover image ACW contributing editors Jen Budney and Roberto Pinto (Milan)

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chapter iii Kortun, Mark Dion, Giovanni Intra, Jen Budney, Roberto Pinto, Juliana Engberg, Choi Jeong Hwa, Callum Morton, Kathy Temin, John Nixon, Charlotte Day, Max Delany, Jon Campbell... and many people unknown to the artworld; the person who lives next door, someone’s uncle, the woman who works in the supermarket near the gallery, a police woman. Encountering an artwork made with cigarette butts, steel wool and a brassiere in Melbourne in 1994 hotel worker Andrea Villinger wrote, ‘I smoke, I wear a bra this is a dream I like’.

#7 Autumn1998 cover image ACW contributing editors Callum Morton (Melbourne), Sarah Seager (Los Angeles). Terry Urbahn (Wellington)

#2 Autumn 1994 cover image Tony Clark

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IN THE HALL, TOO SAD TO TELL YOU Paul Charbonnier - An art event that give an exposure on several peopleâ&#x20AC;&#x2122;s work - Idea of collective exposition without common theme - Free acces - Open on the street ( full city center ) - A kind of special link between street and exposition place by the intervention of a radio controlled car dressed by a green plastic hand, directed from the windows of the flat and sometime directly on the street - A second floor of building for live music during 7 hours approximately, with two electronic musician ( electronic glitch / ambient rap ) - A title for the exposure : ÂŤIn the Hall, To sad to tell U, and a poster - Different art medium : installation, draw, paint, sculpture, music, image, performance - An interaction with the passer-by - A facebook event and an oral communication - The desire to do something - A neighbor who displays running shoes and an anti-theft chain without knowing it, and without even having offered him - The hall as an extension of the street - A heterogeneous audience, passers-by, guests

- A marabout in a mailbox - Hang without drilling, without leaving marks - A frieze of shutterstocks images in the form of a half unwound roll - A shelf for mini objects-sculptures - Paintings drawings hung on boards resting against the wall - The world or...

- Editions on stacked crates - ...........

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IN TH TOO

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HE HALL,

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SAD TO TELL YOU

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Virtual exhibitions Louis Robiolle Virtual exhibitions can be a good alternative for young artistes to show artworks around the world. everything is one click away.

Unlike physical exhibitions, virtual exhibitions are not restricted by time, they are not forced to open and close but may be available 24 hours a day. It can be seen everywhere and donâ&#x20AC;&#x2122;t need any place or galerie.

Virtual exhibitions can gather several artists as the Wrong Biennale.

The Wrong happens both online and offline. The online part of the biennale happens in pavilions; virtual curated spaces in any online accessible media where selected artworks are exhibited. The offline part of the biennale happens in embassies; institutions, art spaces, galleries and artist run spaces in cities around the world which feature temporary AFK projects, featuring live performances, workshops, artist talks and exhibitions. The Wrong is free to participate and to attend, and mostly A open sourced team of curators research, select and feature what they like best of the new digital art scene today. More than 3.000 artists and curators have officially participated up to date either in the online pavilions, or the embassies, or both.

For its third edition 2017/18, The Wrong gathered 124 curators who selected 1.621 artists to show their work.

Other kind of exhibition can be found such as Graffiti General, which was the gigantic building of the General Stores of Pantin. It was left abandoned since 2004 and became the playground of the graffiti artists of the whole world. before the repurchase by the BETC advertising agency, the whole building has been photographed and rebuild in 3D. Every graffiti of the building has been preserved and let a static but timeless view of a constantly changing element. It is possible to visit the building as a video game and walk as a real viewer.

I tried personally to build 3D exhibition spaces to create contexts to some of my works such as videos or visuals.

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the Wrong Biennale

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Letâ&#x20AC;&#x2122;s do it outside

Anastasia Simonin A salad

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moilesautresart Arte Por Kilo

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Mitsy Grellier How to do a street art party

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Quentin Daudet Octo-Verso

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A SALAD Anastasia Simonin I made the performance A Salad, in Beijing last November.

As it wasnâ&#x20AC;&#x2122;t really possible to make the performance at the school where I was studying, I needed to find a location. I am not from the city, from the country and not able to speak the language.

On a free website I started by making some 3d visuals of the kind of space I was looking for, and how the performance would work in the space. I wrote a text, and searched for images of accessories I needed. I asked students of my school if they had any ideas about a place, and sent messages to people I thought might be in the know and able to speak English. I contacted a student who was part of a new association that had some rooms for free in a building in front of the school. They made some exhibitions there and stuff around art.

I sent the guy my pdf and met him three time to discuss. I visited three rooms, and I was sure that one was exactly the good one. I had to argue a lot. I sent messages every week for four weeks before the performance to be sure that I was able to use the room, and that the room was booked for me for one day before and the full day of my performance.

I started to buy everything. I took measurements of the room and tried to estimate how many people would be there. Then I had to find performers to make it with me, and a photographer and a filmmaker. I asked one of my roommates to perform with me and my two other friends, a photographer and filmmaker. Then I sent messages to friends and other students of my class to ask them if they were interested to be in the performance, or if they knew people who could be interested. I found four performers and met them all together one or two weeks before the performance. I had to make sure they had clearly understand the idea, and they were 43

I made some communication, I needed people to assist, I made some posters and flyers. I put posters around the school and in some part of the city. I asked two friends to give out flyers at lunchtime, in front of the cafeteria that was crowded. I sent message to all my friend asking them to come and to come with friends.

I shared the information on one of the Chinese social networks, Wechat, on my moment, and shared info with my groups. Two days before I was still fighting to confirm that the room was booked for me all the day, and I had to find friends to help me install the room.

The performance went well, two friends helped me for the installation and I asked the six peoples working with me to come one hour before the beginning. I had around twenty people coming for the performance, most of them were students and their friends. None of my teachers came and none of the people in the building dared to come inside. It was hard to get more people to my performance as I was alone to make everything, not famous and not helped by any institutions, like a museum, school, association et cetera. The room wasnâ&#x20AC;&#x2122;t really in the public space and we didnâ&#x20AC;&#x2122;t find a good way to bring people inside. It was a nice experience to share my project with a few people and I learn things about managing an event. We shared a good moment and everybody ate the salad I composed. Even if they were students from a fine art school most 23 44

Oct. 2018

Beijing

reliable.

chapter iv of them had never involved in, or heard about this type of performance. We had a great moment of discussion and feedback about the performance while we were eating.

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Arte por kilo How to make a performance in the public space moilesautresart In August 2017 we began a University Art School exchange at La Esmeralda in Mexico City. It turned out to be much more academic than the Beaux Art School in Angers; students were mainly making sculpture, ceramics and paintings.

At the same time we were noticing many differences in the occupation of the public space: Mexico City seems like it belongs to everybody, it's always full of people and anything can be sold or bought there.

We were also visiting a lot of museums and came across lots of still life paintings: Frida Kahlo, Olga Costa, Diego Rivera...

On the 16th of November we performed Arte por kilo in the local market: we sold a painting of fruit and vegetables by the kilo. The price was fixed to 50 pesos per kilo (the average price of fruit and vegetables sold at the same market). The customers could choose a piece of the painting, we would cut it up, weigh it, sign it, wrap it, and they left with their piece of art.

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Here is how we organised this performance: Research at Biblioteca Vasconcelos, looking at images of still life paintings in art history books Ordering canvas from the school carpenter (1m30 by 1m) Finding* a shop to buy paint and paint brushes in the centro historico Asking people where we could find a space to paint at the school Emailing the studio teacher asking if we could use his space to make a painting Asking the other students if they minded sharing their space Painting the painting** Asking people at the market who was in charge Asking the person in charge if we could have a stall and how much it would cost*** Making a flyer to publicise the event Making the list of everything that we needed for the performance Asking the neighbour to lend us a table Asking around for somebody who could lend us a set of scales Fetching the scales from a friend's brother in Coyoacan Asking a local cheese shop where they bought their plastic bags (needed to wrap up the pieces of painting) and ending up buying them from the cheese seller Asking a printmaking student where she bought her wrapping paper and buying it from the papeleria on our way home Buying a stanley knife, pens, rulers and an account book at the local Office Depot Asking our Spanish teacher**** where we could buy aprons, and finding them at the metro exit he indicated Making a sign with the name of our stand on it Asking a friend to document the performance Handing out flyers to the students at the school Making a facebook event and a few instagram posts to communicate details about the performance Asking our Spanish teacher about market vocabulary Taking the finished painting from the studio to home by uber XL Agreeing on what we are going to do and say Hoping for the best

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*google maps and asking people **two weeks of work ***it turned out to be free ****Carlos By the 16th of November our Spanish had improved a lot, which made communication during the performance a bit easier. Our Spanish got a lot better because we understood that asking people for advice, favors,***** and help, when you donâ&#x20AC;&#x2122;t know, is the best way to get what you need. At first we were too shy to ask. I suppose we were used to it having always lived in the same place. Being in your comfort zone means you know and you donâ&#x20AC;&#x2122;t need to ask.

Asking people is something we will continue to do from now on, anywhere we work. *****When one of us was a child, her dad called them 'flavours'.

He would say 'Can you do me a flavour?'. We like this because it means that when people help you, it brings taste to your life.

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How to do a street party Mitsy Grellier

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Octo-Verso Quentin Daudet

The Octo-Verso association has recently reinvested the old newsstand on Place du Ralliement in the city center of Angers.

They transformed it into an exhibition space dedicated to contemporary art.

He progressively disappeared in the eyes of passers-by... Some Angevins interviewed on the spot admit it: they did not even notice that there was a kiosk place du Ralliement. No newspapers have been sold there for over ten years. It had been installed during the reconfiguration of the square in homage to an old kiosk which existed before the war exactly at the same place according to the old postcards of the municipal archives.

Arthur Chiron and Charles Dubois are two artists aged of 30 and 25, both graduated the Fine art and design school of Angers. They have decided to reinvest this place. They proposed to the town hall to transform the ancient kiosk into an exhibition space dedicated to contemporary art."We quickly obtain a positive answer. We are supported by the art collective Blast and our former art school."

The two artists had noticed that this disused kiosk had become a kind of closet, a storage room. Arthur Chiron who still works at the Fine art and design school regularly invests abandoned urban spaces with sculptures or installations. "Vacant architecture, fragments of urban planning, corners of alleyways... I'm trying to make them interesting again. With the kiosk it's a bit the same approach."

The kiosk belongs to a private structure, Media Kiosk." It was complicated to know who was allowed to do what" says Chiron.

"For passers-by, seen from the outside it is a billboard with eleven large panels, seven of which are reserved for municipal signage.

The last four are private, dedicated to the press, cinema..."

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chapter iv Thus was born the association of the two artists, Octo-Verso. Octo for the seven panels associated with an eighth space that is inside the kiosk. Verso because the exhibition space is outside and inside.

The kiosk opened with a first event called "Facteurs, fragmented edition" by Studio Paranomen, linked to two others interventions of the same name in Rennes and Nantes.

The two artists from Nantes working for Paranomen also graduated the Fine art and design school of Angers. They work on the design, the questions related to the scenography of a place and the furniture. They also worked on the visual and spatial identity of the kiosk. They will present its history and the new identity of this new artistic presentation space, a launching pad for other exhibitions. This project invests a place that was a little exploited but whose environment is crowded. It aims to create a window on contemporary artistic creation in the public space opened to all Angevins.

Contemporary art being relatively little represented in the city's cultural landscape, this initiative was born from a common desire to propose a new form of exhibition space to the public. OctoVerso tries to take place into the heart of the pedestrian centre.

It proposes to each of the invited artists to invest the eight wall surfaces distributed inside and outside the space. Thanks to the luminous display boxes directly overlooking the square, OctoVerso inserts the works exhibited into the field of vision of all passers-by day and night.

About Postman, Ă&#x2030;ditions FragmentĂŠs, by Studio Paranomen : "There are a many ways to communicate information in the public space. However most of them are used to deploy content related to the promotion of material or non-material things. Consequently we are offered an environment with a poor diversity of content. We rarely find messages of an intellectual or cultural nature. Based on this observation we began a reflection on the reasons and causes of this scarcity in public areas: How do people conceive, interact and observe public space? Don't they have an interest in other types of speeches than these supersynthetic messages? Why is this space almost exclusively dedicated for promotional purpose?

From our observations and questions emerged a project: FACTOR, 55

FRAGMENTED EDITIONS (F,Ef).

Through the form it approaches the observations and questions formulated in different ways. Our goal is to edit content from invitations becoming from people whose work interacts with the public space. The various supports published within the framework of this project are for them a place of expression.

Actually the aim is to import alternative discourses into the common environment and also to participate to the diversification of the contents present in these spaces. Through this action we wondered what could be produced by the deployment of new content whose purpose differs from the will to promote a commercial activity.

Opening the exhibition cycle our studio continues its reflection on the use of public space and the nature of the content found there by proposing the second part of FACTORS, Fragmented Edition (F,Ef). In the present framework the project takes the form of a scenography supporting written interviews, texts and other elements retracing the conception and the concretization of OctoVerso. Octo-Versoâ&#x20AC;&#x2122;s main vocation is to lead to a diversification of the content present in the public space. In this way an initiative like this one resonates with our publishing project F, Ef. Thus continuing our series of interviews with people whose work influence the public space and enrich it by bringing intellectual, cultural, informative and developed content. The different tools developed for F, Ef ; the scenography as well as the visual identity of the place are many elements by which we try to answer to the question which underlies this second episode of FACTORS, Fragmented Edition : by which ways to share an elaborated content immobile in the public space?"

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Probably not the best place to start

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Lola Boumard, Pierre Soria-Piles, GaĂŤl Philippeau & Louis Robiolle Commercial galleries short interview with The Annexe

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GaĂŤl Philippeau & Pierre Soria-Piles Diverse strategies to exhibit for the first time

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Margaux Chalazonitis & Laurine Rouiller Statue of designer

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Commercial galleries short interview with The Annexe Lola Boumard, Pierre Soria-Piles, Gaël Philippeau & Louis Robiolle Who is the initiative of the Annexe?

L’Annexe is a collective studio that used since last year by Laurie and Nicolas. Me and Sophie arrived since October. It was at this moment that the place exists as it is now. We work in and also in the context of the exhibitions. We empty and use the space with the artists.

How did the idea of this project come to you?

It was an idea that we had together when we arrived because the place lends itself to it with its showcase and everything else...

How are chosen the artists exhibiting at the Annex?

So we started individually to think about exhibitions, which gave the 1st cycle of 4 expos where each of the occupants had "white card" to curate his expo. Now, we have launched a project on the basis of propositions from us or from artists who send us files, we work on collectively, at 2 or 3 or together. For the choice of the programing, it is problematic because each of us have a personal work and that one tries to expand to a group exhibition. Or now as I told you a little high + we propose expos and valid or not lol

How do you promote exhibitions?

On these we essentially work on the curation aspect, texts and other…

We wanted to create our own initiative rather than add to galleries because we wanted to have the freedom to consider all programings. But also to think a common way to consider the curatorial aspects of the exhibitions for our working group (we claim a posi59

tion of artists-curators, perhaps closer to plastic concerns.)

Why did you choose to set up an exhibition venue yourself instead of approaching the already established galleries?

So it was the ideal rather than making compromises with institutions. Perhaps there was also a desire to create a community place.

Why in Paris, because all the occupants of the Annex lives there.

However it is located at Porte de Montreuil where the cultural offer is quite poor finally too.... but it is rather a chance finally. For the moment we are doing a small exhibition of 5 days max per month, but from May we will do more Promotion, we work upstream before everything is ready (visual, texts, scenography) and we organize events, we send newsletter by mail too, we also talk about the initiative with somebody curious at the opening. We have not yet any support whatsoever for the moment especially because we have not yet official status, we think about creating an association that could allow us to obtain public aid. For private helpers we have not yet found wealthy patrons

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Diverse strategies to exhibit for the first time Pierre Soria-Piles & Gaël Philippeau

The Social networks and internet to start Digital Medias to share your work. On the social network or use several artistic platforms to share your work with a community.

ISUU is a good example. You could make some digital editions that could be watched by others users. For audio-visual approach, Vimeo and YouTube could help young artists.

Facebook groups especially “Outsider art”, “Art brut”, “ Raw Art” or “Art Singulier” are some examples. It’s possible to interest a large audience. The main goal is to target a minimum of 10 000 people.

Website to contact https://www.artefields.net/jeunes-artistes-contemporains/

The art contests A blog named “ Gricha-rosov.com show some art events and particullary art contests. It’s important to consider that an famous art contests isn’t a good idea to start when you are a young artist. In the same things an “classical” art contest can’t help you if you have a contemporain approach.

In the municipal galleries, local galleries. Create some contacts with the cultural services of a town hall. An example like the Erquy’s gallery at the west of France are interested in the young artists’s works You must noticed that kind of galleries select the works of several artists like in an art fair. Some commercial galleries, exhibit in a store, a restaurant or a pub. I remembered an art exhibition of a young artist of the school of fine art of Rennes in a pub “Parisbouge” or “Art majeur” , “The Parisian” art rubric are some cultural printed medias who made cultural adverts

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Several contacts find in web to exhibit in an art space:

DIRECTION DE LA CULTURE Hôtel de Ville 60 avenue du Maréchal de Lattre de Tassigny 33700 Mérignac 05.56.18.88.62 directiondelaculture@merignac.com www.merignac.com CONSERVATOIRE DE MÉRIGNAC 7 Place Jean Jaurès 33700 Mérignac 05.56.12.19.40 conservatoire@merignac.com MÉDIATHÈQUE 19 Place Charles-de-Gaulle 33700 Mérignac 05.57.00.02.20 mediatheque@merignac.com www.mediatheque.merignac.com VIEILLE ÉGLISE SAINT VINCENT Lieu d’Exposition Rue de la Vieille Église 33700 Mérignac 05.56.18.88.62 MAISON DES ASSOCIATIONS 55 avenue du Maréchal de Lattre de Tassigny 33700 Mérignac 05.57.00.15.10 maison.des.assos@merignac.com PIN GALANT 34 avenue du Maréchal de Lattre de Tassigny BP30244 33700 Mérignac Cedex 05.56.97.82.82 www.lepingalant.com

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KRAKATOA Scène de Musiques Actuelles SMAC 2 avenue Victor Hugo 33700 Mérignac 05.56.24.34.29 transrock@krakatoa.org www.krakatoa.org MÉRIGNAC CINÉ Place Charles-de-Gaulle 33700 Mérignac Répondeur : 08.92.68.70.26 merignac.cine@gmail.com www.cinemerignac.fr

How to show your work as an emergent artist / Contact a gallery Enter in a gallery without any show on your CV can be difficult way to put a feet in the Art world. The best way is to make an artistic dossier, a portfolio that shows the best of your work.

It’s important to select your gallery before sending anything. Coming directly in a gallery is not a good idea, you will have more chance by writing an email or sending your portfolio. / Participe to art contest There is a lot of prises and art contest for young emergent artist - drawing salons, painting contest, sculpture, new medias, photography - like the Luxembourg art price, Erotic drawing salon, Canson Award... Most of them guaranties a certain amount of money and also some advertising for the artist’s work. It can also be a good way to make new contacts and grow your network. You can also apply to a residency, where you will have money and a space to create. / Be visible on the web Create an art page or a website can be a great help to show your work to a large public. A lot of artists, galerist and curators are on social medias. An instagram page, for exemple, can be a great medium to share you work and show it to the worldwide. / Collaborate To be linked with other artists can be a good way to start a career. There is a lot of potential in a group show or a collective. It’s important to find people who have a similar approach in their work and built something with them. You can rent a space and make your own collective show, find an appartement that you will turn into a space exhibition. You can also contact an art space or a gallery, being on a group will give you more chances than being alone.

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Statue of designer Margaux Chalazonitis & Laurine Rouiller

CHOICE OF STATUE OF ACTIVITY Working as a designer, it is necessary to define your area of activity: industrial design, graphic design, interior design, decoration, fashion design, object, jewellery, furniture and interior design.

CHOOSE YOUR TAX STATUS THE CHOICES ARE :

3. Business, 1. Employed

2. Independent

entreprise, society

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1. Employee The designer can work for a design agency, for an independant designer, commercial society or for industry.

2. Independent working for yourself there are several statues to choose from, such as Self-employed, small business owner, entrepreneur, artist.

- Self-Employed : independant, people who don’t want to create a society or business, (students, salaried employees, jobseekers, retired people and those who have an activity in addition to other paid work). Self-employed people should register online with the Centre des Formalités des Entreprises (CFE) lautoentrepreneur.com - Profession : for those working in art, design or science, where intellectual activity plays and important part, it is necessary to subscribe to a pension scheme, such as Régime Sociale des Indépendants (RSI).

In this case the annual tax declaration is Bénéfices Non Commerciaux (BNC).

3. Sole Trader Services, delivery or Commercial Presentation and services Reserved for traders who provide services. Subscription to the Chambre du Commerce et de l’Industrie (CCI). Fill a tax return to BIC ( Bénéfices Industriels et Commerciaux) - Artisan Reserved for People who make and sell artisanal objects. Subscription to the Chambre des Métiers et de l’Artisanat (CMA) is required and the tax return, Bénéfices Industriels et Commerciaux (BIC).

- Astist Artists and writers who justify their status by selling their work. Subscription to La Maison des Artistes.

Tax is calculated on income through sale of works and fees.

4. A business listed as a society This type of business is complicated to set up, but the chamber of commerce and industry offer assistance and advice to register a society.

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vi 67

From atelier to gallery space

Alexis Remoue Glassbox, interviews Stéphane Doré

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Sasha Cardin TCB Gallery, 1999-2018 an interview with Sharon Goodwin

Matthieu Boucheron More Fools in Town, interview with Geoffrey Lowe

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Margaux Chalazonitis Interview with Adel Cersaque & Pierre Feuille Ciseau

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Interview of Stéphane Doré, Founding Member of Glassbox, Paris Alexis Remoué

What was the situation of art in Paris in 1997?

T

he situation of art has always been complicated, but there is especially different contexts. The Glassbox story is inspired by the experiences made in the 80s in England.

There were many alternative places, especially during the Saatchi period. But this kind of gallery did not exist in Paris, so we didn’t have invented something, we've just taken a new concept. It was importing a model and creating a new energy in a neighborhood.

We were a collective who wanted create an alternative place, without any money at the beginning. It’s Stefan Nikolaev who found the original place by a friend, at Oberkampf. For the first exhibition, we found money through patronage but it was really nothing. we increased our funding with a bar that we had in the place, and after the first exhibition, we found an important patronage with « Le Charbon », a café next to our place. Gradually,the place turned into a gallery. The artists were mostly chosen by cooptation at the beginning, and nobody had specific role, everyone could hold the bar one day, clean the place another etc...

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TCB Gallery, 1999-2018 an interview with Sharon Goodwin Sasha Cardin TCB ART INC https://tcbartinc.org.au/ Sacha: What was the art scene like in Melbourne in 1999?

Sacha: Was the situation dominated by a particular gallery or particular people?

Sacha: Why did you decide to open an artist run space?

SHARON: when we (Blair and Thomas, the other 2 who I started the gallery with) finished Art school, there was only a few galleries that emerging artists could exhibit at. We loved them but often thought abut what we would do to make a better model.There was a really big gap between the ‘established comercial system’ and what was available to emerging artists straight from art school. We an opportunity arose ( an artist run gallery was closing down and we took over their lease) we decided this would be a great opportunity to actually do something instead of just discussing it, to test it out Sacha: Where does the money come from to run the gallery?

SHARON: Usually, the majority of the gallery’s income comes from artists, they are charged the overhead costs of the exhibition. Artists are responsible for paying or getting funding for their own projects. If the gallery or a curator initiates a project (e.g. a group exhibition) the will pay for or get funding for the project costs, but i guess it would depend on the project.

Sometimes the gallery gets funding from government arts funding bodies, e.g. Australia council for the arts.

Sacha: How do artists apply to have an exhibition at TCB and how are they selected?

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chapter vi SHARON: The gallery regular call outs (every 6 months maybe) for applications for exhibition. Anyone can apply Usually, the board or committee meet and go through the applications. They select according to merit and in the context of a program.

Sacha: What kind of work do you expose?

SHARON: I think that its a very varied but mostly high standard contemporary art Sacha: Would you elaborate on what you mean by 'high standard'?

Sacha: Who is the audience that attends the exhibitions? Could you elaborate on this, what do you mean by 'strong interest'?

SHARON: The audience is small, other artists mostly and those with a strong interest in contemporary art Sacha: Who do you invite to exhibitions? Do you invite museum curators and art critics?

SHARON: The exhibition invites are done via email, Facebook and Instagram. People can follow the gallery or sign up to the email list. Im sure that on occasion more targeted invites are made depending on the project.

Sacha: Nearly 20 years on, what has TCB offered to the Melbourne art world?

Sacha: What did you personally get out of the experience of starting this gallery and being involved for a number of years?

( interview by mail between Sharon Goodwin and a student of fine arts in Angers, she didn't answer to all questions ) 69

Interview with Adel Cersaque Margaux Chalazonitis

1. Why did you begin a collaboration and what is the difference between collaborating with one or more people and working on your own?

I initiated this collaboration with Jeremie Rentien Lando during my last year at Ensad (Ecole des arts décoratifs de Paris), as I was sort of depressed of my way back from Montreal, Quebec, where I spent 6 month studying at UQÀM (Université du Québec à Montréal) school of design. I was lost between the need to draw, which I satisfied in Montreal, and my love for theory, deeply involved with the field I was studying in Paris: graphic design. But I was unable to find interest in it anymore, as I was disappointed by what graphic design had to offer in the critical design emerging field. When Jeremie Rentien & Mehdi Vilquin ask me to join them and try to built a common diploma project by melting industrial design, graphic design and video art (as writing), I embraced their proposition as a sign of destiny I had to follow — and I wasn’t disappointed. We called it Adel Cersaque together, to put a name on our work.

2. What are the upsides and downsides of working together?

There are lots of positives aspects in working at two or more: you become much more effective & productive; you get to learn skills from each-other (if you come from different background); you spend less time turning ideas in your head, as you can test them with someone else’s head (it’s not always true); you get to feel less alone & hopeless in that difficult journey that beeing an artist can be (though some people like to work alone); it’s more fun.

For the down sides, I can mention a few: you sometimes have to make compromises about your ideas and the other one’s ideas (yet, some minds really are in tune); you have to share the pay for some projects; once in a while, clashes happen for reasons as involvement, misunderstandings, or money, and you get to lose friends (we were three at the beginning, know we are two for the best).

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chapter vi 3. How other people (Employers - collectors) do they find anyone resistant to your collaboration and only want to work with one person ?

The only resistance we found was in some residencies & grants applications, that were opened only to solo artists; but we managed sometimes to apply as our fictive character: Adel Cersaque.

4. Do you get paid for every project that you do ?

No we donâ&#x20AC;&#x2122;t, but all the money we involved in projects we did with institutions were at least refund. Yet, an important part of the works we created on our own were funded by our earnings.

5. How do you publicize / promote / expose your project ?

We spend a lot of time to keep our website in shapes with good pictures and texts in french & english. We also have a Facebook account, a Tumblr account, and an Instagram account (the most effective promotion we have yet).

Robin Bantigny-Pernot as Adel Cersaque adelcersaque.eu adelcersaque&gmail.com

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Interview with Pierre Feuille Ciseau Margaux Chalazonitis

1. Why did you begin a collaboration and what is the difference between collarating with one or more people and working on your own ?

I start to work in collaboration to have the possibility to do more project at difference scale and to share my knowledge and experimentations with some one close to my own age.

Working with other took generally more time because you need to be agree or to convince the other. It's a nice exercise to fight for your idea and succeed to put 'good' words on it.

2. What are the positives and negatives of working together ?

Don't think that there is negative aspect to work in team...

For the positives i could say, sharing knowledge, learning from the other, add our savoir-faire.

Ah may be if you use to work with the same team, you will have the same "function" so you will stop to learn new technicals stuff because it will be the goal oh on other from the team.

3. How other people (Employers - collectors) do they find anyone resistant to your collaboration and only want to work with one person ?

If i do a work with a team we give the best arguments to the clients to understand that it's important to keep the complete team.

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4. Do you get paid for every project that you do ?

I have never accept a project without being payed. In creation work (art, design, etc) it's difficult to be payed for what we do. There are to many shame "job" unpaid. Nobody is working for free except in art, design, fashion, etc.

That's a pity and a bad example, because when you accepted to do a job without money or very few, finally you let them thought that they can have creating people for free.

5. How do you publicize / promote / expose your project ?

I got one website, that's happen few times that my work was published on book, and i try to do more exhibition.

TimothĂŠe Chalazonitis working with ClĂŠment Valette as Pierrefeuilleciseau mail@pierrefeuilleciseau.fr pierrefeuilleciseau.fr

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Prize supprise

Mathieu, Lucas Salon Montrouge, interviews Marie Gautier

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viii 77

Where does money come from

Alix Goupil-De-Bouille-Troistorff, Justine Fremondiere & Typhaine Le Grelle Mini Maousse Contest City of Architecture and Heritage

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Mini Maousse Contest City of Architecture and Heritage (Palais de Chaillot, Paris) Alix, Justine & Typhaine What is it ?

MINIMAOUSSE is the first biennial competition for microarchitecture open to students at level III and beyond schools of architecture, design, art, engineering and landscape.

The goal is to prove by example that the small scale can be declined in architecture through multiple projects and objects, competing with inventiveness and poetry. It is above all, to design a small architecture that must do the maximum!

At each assignment, a theme is proposed: "Rolling minimizations", "Pin box for summer ritual", "Build XXS for the little ones", "Street kitchens".

Who can register ?

Who can register? Third-year students, L3 or above, or equivalent, enrolled for the 2017-2018 or 2018-2019 academic year in a French, Belgian, Swiss school of architecture, design, art, landscape or in an engineering school.

Why this contest among others ?

The Mini-Maousse Competition is a competition open to students in art, design, architecture and engineering. This is a competition open to many profiles. We ourselves participated in this contest and we were able to test the true riches of this contest. And we found it more interesting to offer you a contest in which we have already participated. For the sixth edition of the contest, we had to imagine the new house of the best days in support of Jean Prou77

vĂŠ's happy days home for low-income people. We had to provide a folder with fictitious visuals of the project. It is quite interesting to work on such a problem because it helps to better understand the issues that await us after school. And at the same time this contest gives free rein to our imagination because we have few limits.

The competition also offers lectures on architecture, art and urban issues. We were able to participate in a conference at the CitĂŠ de l'architecture in Paris but we also met the students of the Nantes School of Architecture. We had many meetings around this project where we could discover more the urban area.

This competition provides a concrete opportunity for students to realize their project on the scale of the city and its inhabitants.

This year what is the theme ?

The City of Architecture and Heritage launches the Mini-Architecture microarchitecture competition for students in architecture, design, art and engineering schools. For its seventh edition, Mini Maousse will focus on the digital divide. The challenge is to propose a microarchitecture that would be the place of training and digital accompaniment of people who are remote.

Launch of the contest: Tuesday, April 3, 2018 Final rendition: Thursday, January 10, 2019

What was the theme two years ago?

THE NEW HOUSE OF BETTER DAYS design a temporary housing unit, eco-friendly and economical The students in the 2nd and 3rd year design of the year 2015-2016 participated in this sixth edition of minimaouse.

Five answers were made by our school. Each of them was very

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chapter viii different: -One proposal focused on thermals baths where each habitation unit had direct access to the bath.

-Another was focused on collective gardens where the inhabitants of the units took care of the communal garden with the inhabitants of the city.

-The third was based on the mobility of dwellings using the railways that ran through the city.

-The fourth was oriented on a collective living space protected by an immense stretched canvas that allowed to have both an open and closed space.

-The last project meanwhile did not propose the constuciton of an architecture but the creation of a collaborative application where everyone could list the free resources available in the city: food, housing, The winning project was made by two students from

means of locomation, sanitary ...

the Architecture school of Nantes :

Fabien Le Goff and CĂŠdric Jenin They were able to build their project in scale 1 in partnership with the wood school of Nantes.

Here is the link of the winning project : http://www.minimaousse6.fr/projet/wood-stock/

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ix 81

The grass is always greener on the other side

Yue GAO Interview with Hao Guo, Chinese artist runs a school for students to study abroad

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Interview with Hao Guo Chinese artist runs a school for students to study abroad Yue Gao

First of all please talk me something about your background. 我名字叫郭颢，2001 年之前在中国生活和学习，然后在 澳大利亚墨尔本学习 8 年多取得了我的 Master of Fine arts 艺术硕士学位，2009 年回到中国北京至今

Why do you want to start a school?/ What’s your original intention to open a school? 我开始创建这个艺术教育机构是因为之前在几家类似艺术留 学培训机构工作过，作为任职导师或兼职老师，从业过程中

发现了很多问题，也积累了一些经验。加上有一个可能被一 家中国垄断性上市的大教育机构收购的机会，于是就成立了 自己的教育机构。

How long and how the school operate in the past few years? 我的教育机构成立于 2015 年 6 月，一直运营到现在。

What philosophy or ideal do you uphold to run your school? 开始的时候我个人只是发现众多的类似机构包括我就职过的几家著名的艺术机构，都有各种不真实的虚假宣

传，以及用虚假信息的误导学生或学生家长的行为，以及不负责任的承诺等等。我个人觉得这些是没有必要 和不负责任的，因为作为艺术家或导师不应该为公司的这种行为承担名誉或信誉的责任，也不希望把这些强 加给他人或学员。所以我想实验一下简单坦诚的不对员工和学生进行信息封锁或虚假宣传，沟通或教育培训 过程是否可以生存。另外中国的教育或艺术教育和海外艺术教育有很大的区别，很多学生不了解海外艺术教 育体系和各种规则与标准，对自己目前的水平能力缺乏认知和比较，不清楚如何与海外艺术院校对接以及如

何提高并达到相应的水平非常困惑，更不知道如何提高自己艺术表达或开发自己的才能。我可以通过我的经 验帮助他们，给他们一些建议和选择，以及更多的可能性。从而开阔他们的认知领域，拓展未来选择。

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What are the main courses of the school? 主要的课程是一对一的针对每个学生的能力、基础和思维方式、背景、习惯以及他们 的目标院校在有限的时间内尽可能的提高他们认知水平，开阔眼界，告诉他们各种学 习方法和尝试各种可能性，启发引导学生的求知欲、学习动力和创造性，从而提高和 完成一份优秀的艺术或设计作品集。

Is there any connection between your gallery and the school? 我和画廊的合作非常松散，更多的是相互支持，除了偶尔带学生参与感受一下画廊展览或开幕，或 学习个别艺术家的作品或呈现方式，以及指导个别画廊员工或家人的孩子准备海外艺术留学以外， 教育机构和画廊没有直接的对接。

What’s the most interesting part in your career? 最有趣的部分可能是和有趣和有才华的学生沟通和共同创作过程。

What’s the most important thing in the process? 很多事都非常重要，环节非常多，作为一个生意做重要的就是生源，但是作为一 个艺术教育机构或者一个艺术老师最重要的是真诚的和学生沟通。

Have you met any difficulties? If

What do you do every day?

yes, how do you deal with them?

What is different from the

有过非常多的各种各样的困难，比如招生和恶性

past?

竞争，高房租和恶略商业和文化环境，繁重的税 务和行政手续工作等等。我不能说我适应的好， 所以目前这个教育机构规模缩的非常小，尽量简 单化所有环节。

因为大机构收购我公司的计划没有成功， 所以现在我缩规模，基本不宣传，一对 一的教育转到了网上视频教学，成本非

常低，还好靠过往一些学员的口碑一直 有新的学员可以维持公司的生存，我自 己只教几个学生。所以有很多的个人时 间。我平时刷刷朋友圈，曾经被人说比 较愤青，由于种种原因，言论自由代价

越来越高，所以我现在朋友圈转发或感 慨的也少了，更多看看电影电视剧，电

脑语音阅读一些书，养猫，和朋友聊天 聚会吃吃喝喝或网上社交，旅游打球游 泳，还有些有展览或邀请会做些艺术作 品或设计之类等等。 82

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What do you think young artists need to pay attention to in the current art market environment? 我个人认为现在的艺术市场或商业环境非常残酷，毕竟幸运儿是 少数，当然世界有很多局部的小环境或不同层级不同类型艺术品 的市场和生存方式，也非常复杂，一方面艺术家在市场经济环境

下满足各自的生存需要，以及对自己负责任，管理好自己，不成 为太大的社会负担和麻烦，另一方面年轻艺术家个体或群体又是

非常弱势的经常被剥削压榨甚至欺骗侵害，我觉得艺术家应该有 更强的意识保护好自己和自己的权力，健康的培育艺术家自己的

艺术实践，维护它的成长和持续性需要非常强大的意志和行动力。 相互帮助支持和充分的沟通很重要。

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This is a story about ideals.

His name is Guo Hao. Now, Hao lives and works in Beijing. He has his own school and artistic team. Guo Hao lived and studied in China before 2001, and then he studied in Melbourne, Australia for about eight years and obtained his Master of Fine Arts degree. He returned to China in 2009.

He started to create this arts education institution because he used to work in several similar art educating and training institutions.

As an tutor or part-time teacher, he found many problems in his career and accumulated some experience. When an opportunity was appearing, he established his own educational institution in June 2015.

He has his own attitude towards the school. He hates false propaganda of similar institutions, misleading students or parents with false information, and irresponsible commitments. Personally, he feels that these are unnecessary and irresponsible. As an artist or mentor, he should not be held responsible for the company's behavior or reputation, nor does he want to impose this on others or the students. So he wanted to experiment simply and frankly whether communication or education and training processes could survive, without blocking information or doing false propaganda for employees and students. In addition, the education or art education in China is very different from overseas art education. Many students do not understand the overseas art education system and various rules and standards. They lack understanding and comparison of their current level of ability. It is not clear for them how the communication with overseas art is. And how to improve and reach the appropriate level is very confusing, moreover, they do not know how to improve their artistic expression and develop their talents.

He hopes to help them through his own experience, giving them some suggestions and choices, and more possibilities in order to broaden their cognitive field and expand their future choices.

About the school, he thinks that the most interesting part should be the process of communicating and co-creating with interesting and talented students. He also occasionally brings students to visit gallery exhibitions or opening to learn the individual artistâ&#x20AC;&#x2122;s works or methods of presentation.

The main courses are one-to-one tutoring, according to each stu-

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chapter ix dent's abilities, basis and ways of thinking, backgrounds, habits, and their target schools. The goal is to improve their cognitive level, broaden their horizons, as much as possible within a limited time, and tell them various learning methods and experiment with various possibilities. Accordingly the main courses help to inspire and guide students curiosity, motivation, and creativity to improve and complete an amazing art or design portfolio.

Their have been a great variety of difficulties, such as enrollment and vicious competitions, high rents and abusive business and cultural environments, heavy taxation and administrative procedures. He is trying to simplify the links and scales for better operation. Besides, there are many very important things in the process.

As a businessthe most important thing is the students. However, as an art education institution or an art teacher, the most important thing is to communicate with the students sincerely.Because the plan for large companies to acquire his company was unsuccessful, so now he has scaled down and basically does not publicize.

One-to-one tutoring has been transferred to online video teaching.

He only teach a few students himself. Now, he has a lot of personal time. For various reasons, the cost of free expression is getting higher and higher. So he does not have a lot of friends to share his emotions. Watching movies and TV series and reading some news, holding exhibitions or invitations, doing art works or designs become his way of relaxing.

In his opinion, the current art market or business environment is very cruel. After all, lucky people are a minority. Of course, the world has many local micro-environments or different levels of different types of artworks, and the market is very complex. On the one hand, the artists are in the market economy, meaning that in an environment where they need to satisfy their own survival needs, as well as to be responsible for themselves and manage themselves in order not to become too much of a social burden and trouble. On the other hand, individual artists or groups of young artists are very vulnerable and are often exploited and even defrauded. He thinks that artists should have stronger awareness to protect themselves and their own power. It is necessary to cultivate the artist's own artistic practice and maintain its growth and continuity. It requires very strong will and action. It is important to help each other with support and full communication.

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