AIM Network

AIM Network AIM Network (Artists’ Initiatives Meetings Network) is a European network of artist-run initiatives started in 2010.

It serves as a platform for exchange of experience, sharing of knowledge, increasing mobility and cooperation between artist-run initiatives, and raises awareness of the artist-run sector among both the professional art world and the broader public. Over the course of its existence the network has organised a number of events and activities of various formats: exhibitions, meetings, conferences, workshops and more.

Several spinoff collaborations, projects and conversations have been initiated as a part of the network activities. AIM Network repeatedly received generous support from the Nordic Culture Point, as well as other local support and mobility funding.

This publication is the concluding outcome of our last project period and funded by the Nordic Culture Fund.

Joa Palmér, ‘The Swamp’, light installation at Candyland’s outdoor exhibition ‘Skogssalong’, January 2021. Photo: Nadja Ekman.

Bernice Nauta, ‘Hello Echo’ opening at 1646 Experimental Art Space, The Hague, 1 November 2019.

Photo: Maurice Mikkers.

This publication presents AIM Network’s

project, as well as to the participants in

fifteen member spaces from across Europe –

our activities. Without them, the network

artist-run initiatives of various natures, from

would be just an empty frame. To work

recently initiated to well-established spaces,

within the independent art sector is far from

as well as a list of former members. We also

smooth sailing, with its financial instability

included examples from our programme

and constant flux of resources, but in AIM

in 2018–21 to demonstrate the scale and

Network we have had the luck to collaborate

impact of activities that originate in the

with a wonderful group of gifted, energetic,

artist-run scene. To bring the idea of the

multi-skilled and overall wonderful people.

artist-run closer to the reader, a brief section

Thank you.

with questions and answers is incorporated.

Finally, with the kind permission of textur magazine, we reprint a part of their interview with AIM Network from 2019.

We hope that you enjoy this publication and that it casts some light on the beauty of the artist-run scene for you.

We would like to express our gratitude

Alice Máselníková and Andreas Ribbung

to all our members and partners for their

Project coordinators, AIM Network

unceasing support and passion for this

www.artistsinitiatives.com

What are artist-run initiatives?

mon that there would be an entrance fee to

Self-organised, artist-run initiatives (or

artist-run exhibitions. Often you can reco-

artists’ initiatives) – initiatives, projects and

gnise an artist-run space by it being more

galleries run by artists – are characteristic

experimental than its counterparts, perhaps

of their non-institutional ways of organisa-

merging different art forms and promoting

tion, flat hierarchy and often experimental

more diversity.

formats. They comprise a widespread and important part of the contemporary art scene,

What are the types of artist-run initiatives?

yet their visibility and awareness of their

The number and variety of artist-run initia-

function in the art sector remain low among

tives is one of the strengths of the indepen-

the general public. Artist-run initiatives exist

dent art scene. Below we list some of the

all over the world in a variety of formats

common types, but the list is of course even

and structures. Often they are a part of the

broader in reality. Some initiatives have a

so-called independent art scene.

hybrid format where different structures of organisation overlap.

How do artist-run exhibition spaces differ from other galleries?

An artist-run exhibition space can look

Artist-run gallery/Self-organised exhibition space/Offspace

exactly like a regular gallery space – or it

Nomadic exhibition platform

can look completely different. Many pursue a

Studio collective

similar format of hosting art exhibitions on

Collective workshop

a regular basis with a setting quite close to

Residency/Retreat

that of commercial galleries or art institutions, though generally on a smaller scale.

Publication/Zine

Like other galleries they can have a speci-

Online project

fic focus on a certain profile of artists, but

Art fair/Festival

welcome visitors of all kinds. It is uncom-

Artists’ network

Types of exhibition spaces

and choice, reach out to wider audiences,

As most artist-run initiatives focus on art

broaden our professional networks, have fun,

exhibiting in one way or another, these are

want to be a part of a collective, enhance

some of the standard formats they adopt.

skills, exchange knowledge and many other

Project room Artist-owned/Cooperative gallery/ Producer gallery Association gallery Artist-run centre

possible motivations. To initiate an artist-run space does not only mean more freedom and flexibility when dealing with the art world, but it is above all a way of defining one’s own instance both as artist and organiser.

Pop-up space

Why should the audience be interested in

Outdoor

the artist-run scene?

Website/Platform

Artist-run initiatives feature some of the

Artists’ village/Neighbourhood/Street Happening

most interesting contemporary artists there are to see and present art that is relevant, experimental, context-specific or just beauti­

Display window/Showcase

ful. In comparison to commercial galleries

Experimental: e.g. car, sign, pocket gallery

artist-run spaces are less oriented on sales but more varied and fun. At the same time

Why do artists start artist-run initiatives?

the highest level of qual­ity art is to be dis­

Artists have always been looking for alter-

covered in artist-run galleries. Exhibitions

natives, both within their work and outside

are often accompanied by live events, such as

of it. To start one’s own artist-run space can

performances, music and happenings, serving

have a variety of reasons, from the wish to

as a meeting point between art formats. By

exhibit other artists whom we think are

missing out on visiting artist-run spaces you

missing in the art scene, show high-quality

would miss out on a large chunk of con­

art based on group or individual research

temporary culture.

Local Connections, AIM Plovdiv 2019.

Photo: Todor Nenov.

AIM Network interviewed by textur Excerpt from an interview with Alice Máselníková and Andreas Ribbung from AIM Network by textur, 2019.

Reprinted with the kind permission of textur.

Since 2011, AIM Network (Artists’ Initiatives’ Meetings Network) has organised several network meetings, exhibitions and events all over Europe and produced a publication. Can you tell us more about your understanding of the function of such a network of European artists’ initiatives and why do you think it was needed to establish it?

To explain this, it is good to first understand that artist-run initiatives are usually launched on an enthusiasm-basis, and often they continue to function in such a way driven by the passion of its members and operating with limited time and budget. For this reason, they can end up having quite a limited audience and connections. It is difficult to connect with spaces in different cities or

internationally, if there is no time or means

members.] What does it mean to be a mem-

to work on it properly.

ber and how can one get involved?

AIM Network works as a connecting platform for artist-run initiatives that otherwise lack awareness of each other or never get to meet. We feel that it is a great loss that there is such limited contact in the artist-run scene when we could all benefit so much from meeting and exchanging information, both as artists and organisations.

The incentive behind starting the network was then above all to connect the artist-run initiatives internally and to raise the visibility of the artist-run sector for the public.

We serve as a point for sharing professional experience and knowledge about different artist-run spaces and their different working methods. We facilitate physical meetings for our members and for invited initiatives, predominantly from neighbouring countries to introduce them to each other and to the

The members of AIM Network are invited to meetings and projects, usually one or two every year. In the past three years we have been focusing on connecting our events with the European Capitals of Culture as a way to connect the artist-run sector with public art and programmes. From the beginning we chose to have a smaller number of network members and instead focus on the quality and frequency of the meetings. Neverthe­ less, at the moment we actually decided to expand the network and invite several new initiatives to become members.

Aside from organising and producing events AIM Network also functions as a framework for any of our member spaces to apply for additional funding or realise a project of their own. Last but not least, we

network.

work as an information channel and the

The network currently has eleven artist-run

and information on our website and social

member spaces from across Europe and you

media. We also cooperate with two online

actively involve other artist-run spaces. [Ed.:

artist-run maps, the Artist-Run Alliance and

Since 2019 the network has grown to fifteen

Alternative Art Guide, who are doing a great

members can share opportunities, open calls

job at placing artist-run initiatives on the

countries’ art contexts. The member organi-

public map.

sations also provide valuable connections to local initiatives and new partners.

Could you tell us more about some of the in-

At the moment the network is coordina-

dividual members, how they differ from each

ted from Stockholm by the member space

other and how you work together?

Candy­land, but each of our events or meet­

If you look at the network you can see that the diverse members of AIM really reflect the variety of artists’ initiatives that exist.

Some are run by one person or a small group whilst others are large organisations with an exhibition space or residency programme who organise exhibitions on a regular basis. They also vary in terms of their internal structure and length of existence, being well-established spaces running for many years in the same venue, or more informal and flexible initiatives who change their physical location or even the name and direction during the years. Either way,

ings is organised in cooperation with the hosting member in the country where the event takes place.

AIM Plovdiv 2019 – Local Connections took place from 1 to 10 June 2019 in Bulgaria and was organised together with Water Tower Art Fest, one of your member organisations and supported by Plovdiv 2019 European Capital of Culture. It offered a range of events including public workshops, panel discussion, guided tour, and an exhibition. How was the event set up and how does it relate to the network’s long term programme?

all of them have a long experience in the

AIM Plovdiv 2019 was organised by AIM

artist-run sector with which they contribute

Network from Stockholm together with

to the network’s activities. The variety of

Water Tower Art Fest. Water Tower Art Fest is

members in the network, their knowledge

based in Sofia, but for the event we connec-

and skills make it possible to reflect on the

ted with coordinators from Plovdiv and we

differences and similarities in each of the

were working closely with the administration

Politics of Collaboration, AIM Wroclaw 2016.

Photo: Alicja Kielan.

of Plovdiv 2019 ECOC who provided us with

create spin-off effects through mobility and

our main venue and PR support.

exchange of experience and knowledge; b)

During the ten days we managed to include

Enhance the visibility of the self-organised

a variety of activities, each of them with the

art scene among the public through connec­

purpose to combine a professional exchange

tion with other events and organisations

of ideas with a public programme, and at the

and; c) Introduce and connect new artist-run

same time reach out to the artistic commu-

initiatives from a more varied geographic

nity through social media. The programme

spectrum with focus on active in-depth

consisted of an internal part: meetings

engage­ment of local/regional spaces.

and presentations for the invited artist-run

We always try to involve all invited

initiatives, workshops, activities and social

spaces in a joint activity such as collec­tive

events, and from a public part which inclu-

workshops or producing an exhibition. Most

ded public presentations, a panel discussion

of the people in the network and the invited

and exhibition.

guests are artists themselves, and it is so interesting and important to get to know

What kind of outcomes or outputs are im­

about each others’ artistic practice, and if

portant for you when you organise an event

possible see it realised in real life.

on this scale?

The theme of the AIM Meetings was ‘local

There are several key points that we focus

connections’, what does it mean for the

on in all our events, despite the scale of it,

relation­ships with the European network

although of course some of them are easier

that you are building? You mention often

to pursue in large scale events with a public

that you work with the concept of ‘large scale

outcome and some in the internal meetings.

local’ – what is it and can you provide some

Overall, our key programme items could be

examples? How can such a network connect

summarised in three points, which are: a) To

to local networks and what is the importance

strengthen individual artists’ initiatives and

of this connection?

It can become a bit tricky with internatio-

sector from different perspectives within

nal or European networks and projects of

an open process from which everyone can

any kind if they fail to keep in mind their

benefit. Could you elaborate on this and give

specific local contexts and issues. We are a

some examples of your learning/teaching

network of artist-run spaces from different

methods?’

backgrounds and of various natures and that is what gives the meaning to uniting and working together.

The ‘large-scale local’ concept works on the idea of connecting local artist-run initiatives with those from surrounding regions and neighbouring countries. What it means in practice was demonstrated in the event in Plovdiv, where we hos­ted local spaces from Plovdiv, regional artist-runs from Sofia and then guests from Greece, Romania, Turkey and Macedonia. These initiatives have never met or barely known each other from before.

We keep track of the initiatives also after the completion of each event, pro­mote them and introduce them further on, as well as involve some of them in other events.

One of the positives about a network like AIM is the huge amount of different skills and experience that is accumulated amongst all its members and invited guests. Thanks to this we can offer a programme that is educative and inclusive for both our different members and the public, and we also use the potential that is specific to artist-run initiatives – that is, that we are artists.

During our events we usually combine presentations and focused round table discussions with workshops and activities of different kinds. The workshops can vary from hands-on creative sessions, such as for example printmaking or drawing to discussions, workshops and team-building activities. This is accompanied by visits to local studios and exhibitions, informal meetings

One of the key objectives of the AIM Network

and dinners. Altogether the goal is to create

is to exchange skills and knowledge and

an opportunity for an in depth meeting

discuss common problems of the artist-run

between the participants.

The network started to develop an online map of artist-run spaces, but you abandoned the idea after a couple of years and now focus on physical meetings and activities. Why is it that you chose only this format?

Our focus at the moment is to connect artist-run spaces through physical meet­ings to exchange knowledge and initiate further cooperation. One of our key beliefs is that there is a need to develop new methods for transfer of knowledge and experience between artist-run initiatives. More structure and methodology can help new spaces with getting access to funding while they still have their initial energy.

At the same time, already established initiatives can better cooperate, create stronger organisations and influence how cultural support is distributed.

Excerpt from an interview with Alice Máselníková and Andreas Ribbung from AIM Network by textur, 2019.

Reprinted with the kind permission of textur.

Local Connections, AIM Plovdiv 2019.

Photo: Todor Nenov.

1646 Experimental Art Space The Hague, Netherlands

1646 is an art space in the heart of The Hague. With its experimental, international and free public programme, 1646 contributes to an increasingly complex society by challenging existing systems and traditional views, to reflect on the questions that live among us all.

The exhibition programme at 1646 shows innovative artistic practices, inviting local and international artists to make new work. With a focus on solo-projects, 1646 offers an in-depth perspective of artists’ practices via a public programme containing a generous overview of exhibitions, artist talks, events, publications, dialogues, podcasts and a residency programme. 1646 is a not-for-profit foundation dedicated to creating the space and providing the means for artistic practices to thrive.

Molly Palmer, ‘Mechanism of a Lock’, 2019.

Photo: Jhoeko. Courtesy: 1646 and the artist.

1646 Experimental Art Space

Type: Artist-run project space People: Johan Gustavsson, Clara Pallí Monguilod Year of founding: 1995 Motto: Making space for art.

Main focus: Artists are encouraged and facilitated to create and present new work in elaborate and immersive solo exhibitions.

Address: Boekhorststraat 125, 2512 CN The Hague, Netherlands

EXPERIMENTAL ART SPACE

www.1646.nl | info@1646.nl

Why and how did you start your initiative?

We took over the organisation in 2004 to continue building on an experimental and international art platform in The Hague.

What kind of artists or art do you focus on?

Good ones.

What is the main challenge of running an artist-run space?

The balance between bureaucracy and artistic sides of running a space.

In an ideal world, what would you do with your gallery?

To expand the pursuit of providing even better conditions for artists and staff.

Bernice Nauta, ‘Hello Echo’‚ 2019.

Photo: Jhoeko. Courtesy of 1646 and the artist.

1646 Experimental Art Space

Su Hui-Yu, ‘The Cinema of Séance’, 2021.

Photo: Jhoeko. Courtesy of 1646 and the artist.

1646 Experimental Art Space

Tova Mozard, ‘His Highness in a Ditch’, 2019.

Photo: Jhoeko. Courtesy of 1646 and the artist.

Artist-Run Alliance Tel Aviv, Israel / Berlin, Germany

The Artist-Run Alliance is a free artist-led non-profit platform dedicated to connecting artist-run initiatives worldwide. We invite you to add your initiative to the ongrowing global map of artist-run initiatives, explore and publish open calls for independent artists, and invite art lovers to your public events.

Type: Artist-run platform People: Tamar Banai, Tuće Erel, Adi Levy, Gideon Smilansky Year of founding: 2017 Motto: Connecting artist-run initiatives worldwide.

Main focus: Non-profit artist-run initiatives Address: N/A

www.artistrunalliance.org | info@artistrunalliance.org

Artist-Run Alliance

Artist-Run Alliance

Why and how did you start your initiative?

Like most artist-run projects, the Artist-Run Alliance was initiated as a response to the need of artist groups, project spaces and non-profit galleries to connect on a global level and exchange knowledge and professional opportunities such as open calls, exhibitions and funding collaborations.

What kind of artists or art do you focus on?

We facilitate all artist-run and curator-run initiatives: cooperative galleries, nomadic groups, project spaces, non-profit artists’ associations and others.

What is the main challenge of running an artist-run space?

Our main challenge is digitalisation and work with web-based projects when meeting the contemporary art field. The structure and expertise of funding bodies and professionals of the cultural field has been founded on generations of object-based culture mindsets, and not on democratic information-driven opportunities.

In an ideal world, what would you do with your gallery?

In an ideal world there will be only truth! No art and no artists, and certainly no HTML code!

For now, we will settle with paying a reasonable salary to our team and making sure that art lovers and culture professionals can truly benefit from our platform.

Artist-Run Alliance

Candyland Stockholm, Sweden

Candyland is a non-profit exhibition space in Stockholm, founded in 2004. Candyland’s dynamic programme is the result of each of the ten founding members being free to invite any artist without the consent of the group. United by their common interest in promoting a wide variety of contemporary art they have produced more than 170 exhibitions since their beginning.

Candyland aims to build a local art platform with a heterogeneous audience and active in international networks with focus on developing the artist-run sector.

Type: Artist-run space People: Nadja Ekman, Mattias Larson, Teresia Oweson, Alex Pacheco, Jean Ploteau, Andreas Ribbung, Johanna Ringertz, Johan von Schreeb, Cecilia Ömalm.

External projects coordinator: Alice Máselniková Year of founding: 2004 Motto: We are like puzzle pieces to one another.

Main focus: No focus – broad span.

Address: Gotlandsgatan 76, 116 38 Stockholm, Sweden www.candyland | galleri@candyland.se

Candyland

Amanda Ziemele, ‘Being like a sponge’ 2018. Photo: Nadja Ekman.

Helgi Þórsson, ‘Villa Bergström’, 2015. Photo: Nadja Ekman.

Candyland

Why and how did you start your initiative?

Candyland started without the intention to become an exhibition space. We found ourselves arranging new exhibitions every second week and gradually grew into the role. We started out of passion for contemporary art.

What kind of artists or art do you focus on?

We take turns inviting artists and do not have any collective agenda. Each of the members has their individual focus and approach.

What is the main challenge of running an artist-run space?

Time.

In an ideal world, what would you do with your gallery?

We would expand and be open every day and have a café and a shop. And have artists’ studios with a residency and start a school and our own newspaper and broadcasting station.

Exterior of Candyland. Exhibition by Alexandra Skarp, ‘Second Being’, 2021. Photo: Nadja Ekman.

Candyland

Lateral ArtSpace Cluj-Napoca, Romania

Lateral ArtSpace – independent platform for contemporary art – was initiated in April 2012 in Cluj-Napoca, Romania, as an experimental platform for young and emerging artists which emphasises the dialogue between local and international artists. The gallery aims to promote contemporary Romanian artists, as well as introduce international artists to the Romanian audience. Lateral ArtSpace assists and promotes the development of solo exhibitions and group projects, together with a programme of events that includes performance, video screenings, public gatherings, books/ magazine launches and artist talks.

Until December 2019 Lateral ArtSpace was based in a former paint brush factory, turned into Romania’s most acclaimed independent art center – the Paintbrush Factory. During the COVID-19 pandemic the gallery space was closed and relocation efforts are currently in progress. In the meantime, the team is working on launching a new website, organising the archive and collaborating on several editorial projects with local artists.

Lateral ArtSpace

Exhibition opening of Apparatus 22, ‘To the Reading Room. We Applied Ourselves to Mid-Air Visits’ at Lateral ArtSpace, Cluj, 2019. Photo: Roland Váczi. Courtesy of Lateral ArtSpace.

Cristina Curcan and Lucian Indrei installing ‘KƏˈPƱT’, group exhibition at Lateral ArtSpace, Cluj, 2019 (artwork by Raymond Gantner, ‘Palmensturm’, drawing on paper, 150 x 200 cm, 2019).

Photo: Ioan Grosu. Courtesy of Lateral ArtSpace.

Lateral ArtSpace

Type: Artist-run gallery People: Cristina Curcan and Lucian Indrei (managing partners), Dragoș Bădiță (associate) Year of founding: 2012 Motto: No motto, just work.

Main focus: Young and emerging artists.

Visiting address: Currently looking for a new gallery space. www.lateralartspace.com | lateralartspace@gmail.com

Why and how did you start your initiative?

Lateral ArtSpace was founded in 2012 by four friends who met during their studies at the University of Art and Design in Cluj-Napoca, each from different departments (photography, painting, fashion design and graphic design). As we were getting closer to graduation, we realised that there were very few exhibition spaces interested in working with new young artists. We decided (naively) to rent a space in which we could host and organise exhibitions for artists whose works we thought should have a public platform. We did not realise at that time how lucky we were to have the opportunity to open the space within the Paintbrush Factory, at first subletting a studio space from an artist and after the first year finding our own gallery space in the building (at that time there were no empty spaces to rent). After a year of activity one of us decided to leave and focus on her artistic practice, so we continued as a trio since then. As members of the Paintbrush Factory we would receive partial funding for our programme. It was only in 2015 that we decided to have a legal organisation in order to access public funding and have official institutional partners.

What kind of artists or art do you focus on?

Our programme has been focused on young and emerging artists, many of the artists we worked with had their first exhibitions in our space. Recently we developed a new exhibition series, under the name BLIND DATE, which invites the public, as the name implies, to a leap of faith as these events do not disclose in advance many of the details usually provided in a press release. Coincidentally, all the artists we have until now invited to take part are internationally established.

What is the main challenge of running an artist-run space?

There are many challenges of running an artist-run space, sometimes too many, from lack of time and funding to stress and fatigue – some of the reasons why these initiatives tend to be short-lived. Probably the main challenge for us is trying not to burn out, as juggling between our own artistic practices and managing the gallery programme can be very demanding.

In an ideal world, what would you do with your gallery?

As we have struggled many times with paying the rent of the gallery space, we always felt the urgency of the next event, having the space empty for even a few days did not seem like an option that we could afford. In an ideal world we would have the freedom and space to be more involved and develop meaningful relations with all our collaborators and the community formed around Lateral ArtSpace and also the local community.

Lateral ArtSpace

Exhibition opening of ‘KƏˈPƱT’, group exhibition at Lateral ArtSpace, Cluj, 2019.

Photo: Lucian Indrei. Courtesy of Lateral ArtSpace.

LTMKS Vilnius, Lithuania

LTMKS (LIAA, letmekoo) is an artist-run organisation that has almost 150 members – artists and curators actively working in the contemporary art field. The association unites both young and acclaimed artists who received the Lithuanian National Art and Culture Prize and other awards, participated in the Venice Biennale or other prominent international and local exhibitions. It is the only organisation run by artists and curators in Lithuania that has been consistently active for over two decades. It organises and produces exhibitions, events, educational projects and residencies, publishes various publications and represents artists in socio-political situations. LIAA organises local and international events and exhibitions at Atletika gallery (formerly project spaces Malonioji 6 and Sodų 4) and runs a cultural centre Sodas 2123, creating a network of artists and artists’ organisations, expanding to the Baltic region and beyond.

Exhibition ‘The Saturn Youth Group’, work by Katerina Sidorova, 2020.

Photo: Laurynas Skeisgiela.

LTMKS

LTMKS

Type: Artists’ association and gallery People: Atletika gallery is run by Danutė Gambickaitė, Ignas Pavliukevičius and Lina Rukevičiūtė – members of the association.

Year of founding: The association was founded in 1997, gallery Atletika opened in 2019 Main focus: Art projects based on experimentation, exploration of new processes in art and critical reflections of the present.

Address: Vitebsko g. 23, Vilnius, LT-11350 Lithuania www.letmekoo.lt | info@letmekoo.lt

Exhibition ‘The Saturn Youth Group’, work by Andrej Polukord, 2020.

Photo: Laurynas Skeisgiela.

Why and how did you start your initiative?

Lithuanian Interdisciplinary Artists’ Association was established in 1997 by a group of interdisciplinary artists with an aim to represent their interests and to create an association as an alternative to existing artists’ and photographers’ unions. Many other artists joined the association since then and now it unites over 130 members. The association has been running project spaces Malonioji 6 (2014–2015), Sodų 4 (2016–2019) and gallery Atletika (since 2019) with an aim to showcase its members and host various other events.

What kind of artists or art do you focus on?

Gallery Atletika is focused on art projects, and based on experimentation, exploration of new processes in art and critical reflections of the present. A part of its programme is dedicated to exhibitions by the members of LIAA, and the remaining part is open to various local and international projects, mostly selected through open call.

What is the main challenge of running an artist-run space?

The main challenge comes from the practical side of managing the space as we have to ensure the continuity of the space every year. Our goal is not only to contribute to the presentation of projects that are interesting to us and to our audiences, but also to contribute to production of some of those projects. And we aim to be able to do more of this every year.

In an ideal world, what would you do with your gallery?

We believe that we are almost in an ideal world already – with the space we have, the environment it is situated in, the team involved in its running. Or maybe even in an ideal world there would need to be challenges for the space to exist in order for it to be interesting to others, otherwise running a space loses meaning.

LTMKS

Exhibition ‘And Wardrobe Planning’ by Karolina Januleviciute and Kasia Gorniak, 2020. Photo: Vitalij Cerviakov.

Exhibition ‘Living Ornament’, 2020, ‘Liminal Minds’

by Goda Palekaite. Photo: Laurynas Skeisgiela.

Exhibition ‘Microorganisms and their Hosts’

by Mindaugas Gapševicius, 2020. Photo: Andrej Vasilenko.

Atletika, exterior view, Vilniaus Energija performing.

Photo: Gintare Grigenaite.

Exhibition ‘FAMM.BA2020 We Have Discovered a Secret’, ‘FEELS SO REAL Binaural ASMR personal attention while WHISPERING’

by Gaile Cijunaityte, 2020. Photo: Laurynas Skeisgiela.

Exhibition ‘Small Town Murder Songs’,

by Laurynas Skeisgiela, 2020. Photo: Laurynas Skeisgiela.

Exhibition ‘Lines and Wrinkles. Dreams of the Living and Delusions of the Dead’ by Jurga Barilaite, 2021.

Photo: Laurynas Skeisgiela.

LTMKS

MUU Artists’ Association Helsinki, Finland

Founded in 1987, Artists’ Association MUU is a national interdisciplinary art organisation that represents and promotes new media art in Finland. MUU supports the professional identity, working conditions, education, training and networking of artists. It also serves as an influencer in cultural policy. MUU is a member organisation in the Artists’ Association of Finland. MUU operates three exhibition spaces in Helsinki: MUU Gallery, MUU Cable and MUU Studio.

Type: Artists’ association, art centre People: Member artists. Number of members in 2021: 640 Year of founding: 1987 Motto: To represent and promote new media art and support artists in all possible ways.

Main focus: Media art, video art, sound art, performance, emerging artists.

Address: MUU Helsinki Contemporary Art Centre, Cable Factory, Tallberginkatu 1 C, 00180 Helsinki, Finland www.muu.fi | artcentre@muu.fi G A L L ERIA

MUU

‘Material Light’, group exhibition with Anna Björklund, Michal Czinege, Jenni Eskola, Alexander Salvesen, Heidi Stålnacke and Artist Collective Kunst, 2021.

In cooperation with Finnish Light Art Society FLASH. Photo: Anu Raatikainen.

Why and how did you start your initiative?

MUU was founded in 1987 by a group of artists working in new media art and performance. It originated from the need to have a place for these artists and art forms, something that did not yet exist in Finland at that time.

What kind of artists or art do you focus on?

New artists and collaborations with new partners.

What is the main challenge of running an artist-run space?

To find resources to realise all those wonderful ideas that are getting born among artists, and in an organisation like this.

In an ideal world, what would you do with your gallery?

We would like to see how different art forms could merge even more into each other.

‘Material Light’, group exhibition with Anna Björklund, Michal Czinege, Jenni Eskola, Alexander Salvesen, Heidi Stålnacke and Artist Collective Kunst, 2021.

In cooperation with Finnish Light Art Society FLASH. Photo: Anu Raatikainen.

MUU

MUU

Essi Kausalainen, 2014. Photo: Jordan Hutchings.

Ormston House Limerick, Ireland

Ormston House is a meeting place for the arts in the heart of Limerick City. We opened in 2011 as a Cultural Resource Centre to create new opportunities for artists and arts workers. Our core question is: how can we support artists better? The three pillars of our programme are artistic ambition, community engagement and professional development. The Artists-in-Residence play a central role in our thinking.

Ormston House welcomes audiences seeking intimate arts experiences. Our programme is co-designed with citizens to promote access and inclusion resulting in community partnerships, multi-annual projects and cultural events that are responsive to the city and its context. We have developed a participatory model to connect local wisdom with diverse approaches to artistic practice.

Ormston House is part of the Limerick Public Partici­pation Network and the Irish Network Against Racism.

We are also active members of three international networks: Artists’ Initiatives Meetings, River Cities Platform Foundation, and Trans Europe Halles.

Preview of ‘Scissors Cut Paper Wrap Stone’ at Ormston House, 2017. Photo: Shane Serrano.

Ormston House

‘Museum of Mythological Water Beasts’, installation view, Ormston House, 2018. Photo: Jed Niezgoda.

Ormston House

Type: A cultural resource centre with a dedicated visual arts programme.

People: Chris Boland, Niamh Brown, Mary Conlon, Caimin Walsh Year of founding: 2011 Motto: How can we support artists better?

Main focus: Visual arts practices and community-focused programming.

Visiting address and contact: Ormston House, 9-10 Patrick Street, Limerick City, Ireland, V94 V089 www.ormstonhouse.com | info@ormstonhouse.com

Why and how did you start your initiative?

Ormston House was founded as part of the Creative Limerick initiative that allowed vacant retail units to be utilised for artistic projects. This was a mutually beneficial agreement between the local authority, property owners and artists.

Ormston House was established to create new opportunities for artists and arts workers, and to introduce Limerick audiences to ambitious and challenging arts projects.

What kind of artists or art do you focus on?

We predominantly focus on visual arts practices but also work with other disciplines such as music, theatre and dance. We have worked with artists aged from 8 to 82 years; artists working at all stages of their careers – from those that are considered emerging to those considered established. We are interested in projects that are connected to a local context but have a wider relevance. Often our projects are inspired by the history of our building, our city and our citizens.

What is the main challenge of running an artist-run space?

The main challenges usually boil down to available resources. As with most arts organisations funding is sought on a competitive basis and can be limited. This can determine how many artists and arts workers we work with, the scale of the projects, and the timeline of the projects.

However, even with those challenges and in a short few years, we have moved from a voluntary working model to having three employees, we have increased our rates for artists’ fees, and introduced a free Membership Scheme for artists.

In an ideal world, what would you do with your gallery?

Continue what we are doing but scale up and expand the programme. For example, to have more support in place to work with artists on ambitious projects; to have a dedicated, bookable citizen-led space; and to create more opportunities for artists and arts workers in Limerick City.

These are simple aspirations but would have a significant impact on the arts in Limerick City.

Ormston House

On the River Shannon with Pat Lysaght for the Museum of Mythological Water Beasts.

Photo: Shane Serrano.

PASAJ Istanbul, Turkey

PASAJ is an artists’ initiative that runs a project space used for various purposes – exhibitions/performances/workshops/ talks – in the field of contemporary art.

PASAJ was founded in 2010 and has always been located in Beyoğlu in the heart of Istanbul, Turkey. PASAJ focuses on social context, knowledge and memory of the place as well as connecting with the local community. It aims to facilitate skills exchange and establish an environment where artists encounter each other and other inhabitants in the area.

PASAJ invites artists to build up site-specific projects in communication with its surroundings. PASAJ runs A.I.R. Bayrampaşa, a hotel-based artist residency in an industrial neighbourhood of Istanbul.

Birgit Auf der Lauer & Caspar Pauli, ‘A Karagöz of Freedom and Dissent’, PASAJ Karaköy, color photocopy print, diverse archival research documents and workshop on shadow puppet theatre, 2019.

Photo: Caspar Pauli.

PASAJ

Ayça Ceylan, ‘-I think- we were stuck in between’, performative installation, PASAJ Tarlabasi, 2016. Photo: Giorgio Caione.

PASAJ

Type: Independent project space People: Elif Bursalı, Giorgio Caione, Aslı Dinç, Zeynep Okyay, Seçil Yaylalı Year of founding: 2010 Motto: Contemporary art is for everyone.

Main focus: Experimental and socially engaged art projects.

Address: PASAJ Studio, Ömer Hayyam Cad., Kahya Bey Sok., 15/8 34440 Beyoğlu, Istanbul, Turkey

www.pasaj.org | pasajist@gmail.com

Why and how did you start your initiative?

In 2010 in Istanbul there was a need for a short-term exhibition space where artists could try out their projects outside of the commercial art market. In order to meet this need, we decided to create a non-commercial, experimental, multifunctional project space.

A member of our collective had a space where we started to invite artists to realise their projects, make workshops, hold meetings and show exhibitions which lasted from one day to two weeks.

What kind of artists or art do you focus on?

Basically, we focus on artists with socially-engaged artistic practices. This can be any format, including collaborative art, participatory projects, interactive artworks and others.

What is the main challenge of running an artist-run space?

Our main challenge is supporting artists who want to create new projects. We are very much interested in building a relationship with the community around us, creating new actions and strategies for the maintenance of our project space, adapting to unexpected situations, and seeing the long-term effects of our interaction with our environment.

In an ideal world, what would you do with your gallery?

We would get more support to ensure the continuity of PASAJ. We are trying to create a structure which would allow us to provide funds not only for some projects but also for all the artists and cultural workers involved in our whole programme. We would also love to help artists to build up new networks locally and internationally and make new projects.

PASAJ

Installation by Secil Yaylali, photo work by Giorgio Caione, PASAJ’s booth at Supermarket 2015 – Stockholm Independent Art Fair.

Sant Marc Sineu, Mallorca, Spain

Espai sant marc is a residency programme in Sineu which offers accommodation and studio space for visual artists, and facilitates meetings with the local community. Sant marc organises public presentations and open studios in the residency space and produces group exhibitions in collaboration with other institutional spaces and festivals.

Most of the projects are done on-site, sometimes graphic art editions are made in the graphic art atelier. The aim of sant marc is to support contemporary creation and develop collaborative networks. There is no open call, but proposals from artists and curators are accepted on an ongoing basis, together with exchanging collaborations with other artists’ initiatives.

Presentation by Joan Vallespir at Sant Marc, December 2020. Photo: Marcos Vidal Font.

Sant Marc

Presentation by Enric Socias at Sant Marc, April 2021. Photo: Marcos Vidal Font.

Sant Marc Type: AIR, pop-up gallery and atelier People: Marcos Vidal Font Year: Atelier since 1999, AIR since 2016 Motto: To help artists to develop projects and facilitate translocal exchange of artists.

Main focus: Projects developed in Mallorca, no matter who or what kind of media.

Address: Plaça Es Mercadal 3, Baix 07510 Sineu, Mallorca, Spain

www.santmarcair.wordpress.com | mercadal3@gmail.com

Why and how did you start your initiative?

I started the initiative because I needed to share my space. The space has belonged to my family and I started with an etching atelier, helping artists to do editions and later to show their art.

What kind of artists or art do you focus on?

I have worked with many kinds of visual artists. Maybe I like the ones who have experience in working with artist-run initiatives, organising festivals or exhibitions for other artists, those who appreciate more the effort I do.

What is the main challenge of running an artist-run space?

To create an international network starting in a small village.

In an ideal world, what would you do with your gallery?

A regular monthly programme.

Antoni Fluxà, ‘Momentum’, installation, 2016.

Photo: Marcos Vidal Font.

Stanley Février, ‘Este no es mi mundo’, installation, 2016. Photo: Marcos Vidal Font.

Sant Marc

Small Projects Tromsø, Norway

Small Projects is an artist-run initiative located in the city of Tromsø, right in the center of the Norwegian Arctic. It began as a nomadic art and community project in Manila, The Philippines, involving a group of artists, filmmakers, writers, poets and activists from the University of the Philippines.

Now relocated to Tromsø since 2011, Small Projects is housed in a malleable space with white-tiled rooms, high ceilings, stairs that welcome visitors and convert into an ad-hoc auditorium, a small kitchen, a fireplace, a bar, a publication and sleeping room, a screening room and a sauna.

The spirit of the building, which is owned by the Norwegian Sami Reindeer Herding Association, its present location, the Arctic Circle, and the project’s roots – community building and activism in Manila – resonate with each other and together drive Small Projects.

Native American artist Dylan Miner, 2012.

Photo: Jet Pascua.

Small Projects

Type: Artist-run gallery People: Jet Pascua, founder/project manager The following artists have been involved in running Small Projects in different periods: Tanya Busse (Canada), Robel Temesgen (Ethiopia), Marion Bouvier (France), Yohannes Mekkonen (Ethiopia), Cal Harben (Canada), Georgia Munnik (South Africa), Kasia Mikolajewska (Poland), David Laiso (Ireland) Year of founding: 2001–2003 (Manila) 2011–present (Tromsø) Motto: Supporting and encouraging diversity of form, practice and conception.

Main focus: International and local artists. Emerging and established artists of all disciplines.

Address: Grønnegata 23, 9008 Tromsø, Norway www.smallprojects.net | thesmallprojects@gmail.com

Why and how did you start your initiative?

It was inspired by a group of young artists and activists from the University of the Philippines.

What kind of artists or art do you focus on?

International and local artists, established and upcoming. Projects that address some of the most important and relevant contemporary issues. From drawing, painting and installation art to lectures, workshops, seminars, performance, dance, music and theatre.

What is the main challenge of running an artist-run space?

Funding.

In an ideal world, what would you do with your gallery?

That it can become self-sustaining. That rent is not an issue.

Small Projects

Talk and performance by Per Martinsen and Bugge Wesseltoft, 2015.

Photo: Kasia Mikolajewska.

Global Poetry Solidarity Event held during Zanele Muholi’s exhibition, 2016. Photo: Kasia Mikolajewska.

Small Projects

Sophia Connel & Theodoulos Poliviou, ‘Atheoi’, exhibition curated by Gallini Notti.

Snehta Residency Athens, Greece

Snehta is a not-for-profit organisation that supports and promotes local and international artists through its residency, exhibitions and educational programmes in Kypseli, Athens.

Snehta stands for the name of the City of Athens written in reverse. This name metaphorically suggests that the artists involved are to rediscover Athens by reading and translating it alternatively, observing and using the city’s local, social and cultural dynamics.

For the residency, artists are selected through an open call and spend two months researching in Athens under the guidance of the residency team and an established Athens-based curator. Snehta also organises a series of exhibitions, talks and events in collaboration with other cultural institutions in response to topics that critically engage with Athens’ unique identity as a historical and social center.

Our work ethos is to support artists and bring a renewed awareness of Athens through the works produced, exhibitions and events. These should relate to and critically stimulate Hellenic, inter-European and international audiences, redefining Athens in a global context.

Type: Not-for-profit organisation People: Rallou Avramidou, programme director, Simone Niarou, programme coordinator, Augustus Veinoglou, founding director Year of founding: 2012 Motto: Rediscovering Athens through contemporary art and experimenting with the city’s local, social and cultural dynamics.

Focus: Research in contemporary art and design, cultivating awareness through contemporary art practices. Supporting emerging contemporary artists from Greece and abroad.

Address: I. Drosopoulou 47, 112 57 Athens, Greece www.snehtaresidency.org | info@snehtaresidency.org

Why and how did you start your initiative?

There was an urgent need for an open gateway for artists in Athens. In 2012 Snehta was the sole organisation open to applications and research proposals in a residency format in the city.

Moreover, our understanding that Athens was lacking an external eye through the undertaking of fresh research reinforced our desire to start Snehta and develop its programme.

Snehta Residency

Resident artist Kyungmin Sophia Son, ‘Touch me, remind me who I am’, exhibition curated by Evita Tsokanta.

What kind of artists or art do you focus on?

Artists of all kinds including designers, architects and performance artists.

Snehta is not bound to a specific medium, yet we strive to find practitioners who demonstrate experimentation and a desire to learn from the wisdom of the place.

What is the main challenge of running an artist-run space?

We can all agree that running an art space is both a managerial and conceptual undertaking, and multitasking is one of the hardest aspects of the work. It demands clear programming and tight planning, and maintaining the funding and economy of the organisation – all this whilst situated in an area that lacks structural support.

In an ideal world, what would you do with your gallery?

We would expand our space and support artists in very ambitious projects that penetrate the preconceptions about public and private space, as well as other modes of civil existence. Sculpture and immersive practices would be at the forefront together with new technologies such as VR and digital environments. Our new existence ought to push the implementation of technology in ways that can change our lives positively. However, we must be both vigilant and open to positive changes.

Snehta Residency

Resident artist Theia Connel, ‘Atheoi’, exhibition curated by Galini Notti.

Syndicate of Creatures Copenhagen, Denmark We are KRÆ. We are creatures. We are a syndicate of creatures who believe that the world needs radical rethinking. While the capitalistic autocannibalism devours our nature and feasts on all living creatures and living growths; while we humans become a bottomless gap of insatiable needs in a splintered world spinning in the wrong direction where

Jessie Kleeman (GL), ‘Voices of Pythia’, 2021. Photo: Signe Vad.

reflection hurts; we turn into disturbing creatures – we become KRÆ – creatures identifying with critters and growths, emerging as beings of the earth. The Syndicate of Creatures gathers around exhibitions, events, rituals and conversations. We work with events that revolve around interconnectedness of the past and the future, of nature with multiple creatures and species, and of each other in the common world. We want to create an experimental non-profit environment for rethinking; we start by dealing with the grotesque, the absurd, the rejected, the elements of nature, the roots, the robots and death.

The KRÆ is you and me, us and them. A beast born out of fellowship of humankind, a manifestation of our contra­dictory nature. The Syndicate is radical, emerging as a growl from our collective consciousness; it is the creator of sensitive and intellectual disturbances.

Syndicate of Creatures

Why and how did you start your initiative?

It was a way to influence the art scene in a direction that was needed. It is an ongoing learning process. Creating an independent platform gives you the freedom to be radical in your approach to art.

What kind of artists or art do you focus on?

We embrace very different artistic approaches, as long as the artists are interested in rethinking; and that can mean almost anything, any genre and any materiality or non-materiality.

It is in the approach and purpose of the artists we find our common ground and connection.

What is the main challenge of running an artist-run space?

Getting paid! Not being burnt out from the intensity of working additional day-jobs, creating one’s own art and running a project professionally.

In an ideal world, what would you do with your gallery?

In an ideal world we would not be needed! So have fun and do good.

Clara Black Stark, ‘Anthropocene Leftovers’, KRÆ, 2018.

Photo: Signe Vad.

Type: Non-profit art organisation – nomadic platform People: Michelle Appelros, Nanna Gro Henningsen, Elena Lundquist Ortiz, Signe Vad Board members: Fryd Frydendahl, Torsten Høeg, Marianne Jørgensen, Eva Merz, Jesper Rasmussen Year of founding: 2014 Motto: We are KRÆ. We are creatures. We are a syndicate of creatures who believe that the world needs radical rethinking.

Main focus: The environment, the Other, connectedness and radical rethinking. www.tsoc.zone | kraesyndicate@gmail.com

Syndicate of Creatures

Michelle Appelros and Timotie Girardon, ‘Hymn to the slaughtered pig’, KRÆ, 2017. Photo: Signe Vad.

>top Berlin, Germany

>top association operates since 2002 and includes a project space, biolab, co-working space and web server. The members are artists, researchers and activists. Their projects pursue an interdisciplinary approach, support international exchange and deal with non-commercial attitudes. They develop ideas in the field of art that merge politics, environment, economics, and humanisation of technologies. >top supports collaborative projects that seek a dialogue and diversity in artistic forms and attitudes. >top is supported by >top e.V., an association for the promotion of cultural practice and social innovation.

>top

Rebecca Wilton, Martin Wrede and Kim Dotty Hachmann, ‘huisclos’. Photo: Kim Dotty Hachmann.

Why and how did you start your initiative?

We started briefly after our graduation from art academy to empower ourselves to organise art exhibitions, art projects and apply for official funding. We founded >top e.V. to have an association with a legal status which helps to support our members’ projects. Our space(s) have always included working places and rooms for exhibitions and events.

What kind of artists or art do you focus on?

We have a focus in bioart and art & science as well as media art of all kinds. We also deal with social engagement in art practice. In general we are interested in new forms and collaborations in the field of art and other sciences and therefore offer a platform to experiment.

What is the main challenge of running an artist-run space?

Investing time and energy to create a lively and meaningful space without earning money while continuing with your own artistic career.

In an ideal world, what would you do with your gallery?

Promote it better and keep it lively at all times. Giving platform to the fantastic artists we know (us included), exchange, collaborate, interact with artists, other professions and the audience and celebrate the arts and the importance of art.

>top

Kai Lossgott, ‘hunter-gatherer’, exhibition and performance, 2016. Photo: Kim Dotty Hachmann.

Ginny Sykes, ‘The Incandescent Ephemeral’, 2016. Photo: Ginny Sykes.

>top

Type: Artists’ association with project space People: Kim Dotty Hachmann, project manager, Tuce Erel, curator, Mindaugas Gapsevicius, chairman of >top e.V., Matthias Roth, project manager, Alessandro Volpato, lab manager Year of founding: 2002 Motto: Diversity creates more. Giving space to experimenting with new art forms, approaches and collaborations with other sciences.

Main focus: Transdisciplinary art, bio art, multimedia art and collaborative projects, kitchen-lab.

Visiting address: Schillerpromenade 4, 12049 Berlin, Germany www.top-ev.de | top@top-ev.de

Totaldobre Riga, Latvia

Totaldobre is a platform for contemporary art creation that started as an art centre Totaldobže in 2010 in the former factory VEF in Riga. Since 2018 Totaldobže has been redeveloped as a new art platform model under the title Totaldobre. Totaldobre invite people from various fields to collaborate, connect and communicate human values through art.

Residencies, workshops, lectures and discussions are organised in an unused cinema and various rooms in the former Faculty of Mechanical Engineering, Transport and Aeronautics at Riga Technical University, 36 Viskaļu Street.

Totaldobre organise Black Hole workshops – process-driven collaborations that facilitate artists from various disciplines with a focused residency period within which they engage in an intensive creative exchange supported by a moderator.

Black Holes is about experimenting, taking risks and allowing for failure.

Painting by Liene Pavlovska in Tallinas Street Quarter, Riga, 2020.

Photo: Kitija Kaluj.

Totaldobre

Why and how did you start your initiative?

There were a couple dozen young artists, photographers and designers with studios in the former factory VEF. In 2008 we decided to organise an open-door event together to get to know each other. Half a year later some of the artists made an exhibition in the corridor, and next year – another open-door event. Then the Latvian Centre for Contemporary Art invited us to take part in their art festival, and we received an offer from one of the owners to make something interesting in one of his empty buildings. That is how it all started.

What kind of artists or art do you focus on?

Totaldobre is a platform for interdisciplinary arts. Artists from all kinds of contemporary art disciplines, genres, schools and cultures are welcome to take part in our events – exhibitions, multidisciplinary performances, concerts, jams, slams, workshops, residencies, talks and more.

What is the main challenge of running an artist-run space?

Costs – non-regular funding.

In an ideal world, what would you do with your gallery?

Turn it into a bridge between the art world and the real world.

Type: Artist-run art centre People: Kaspars Lielgalvis Year of founding: 2010 Motto: Process vs Projects.

Main focus: Interdisciplinary contemporary art.

Address: 36 Viskali Street, Riga, Latvia facebook.com/Totaldobze | kaspars@totaldobze.com

Totaldobre

Dobziks, the currency of Totaldobze, from the art project IDEARIUM. Photo: Kaspars Lielgalvis.

Exhibition organised by Riga Photomonth in collaboration with FK Magazine as a part of the festival ‘Riga Photomonth’ at Totaldobre Art Centre, 2021. Photo: Kaspars Lielgalvis.

Totaldobre

Water Tower Art Fest Sofia, Bulgaria Water Tower Art Fest is an artist-run initiative started in 2006 in Sofia, encompassing ideas of art, creativity, urban renewal and alternative art spaces. Gradually it became an international event gathering artists from around the world who come together as independent entities representing their individual styles and searching for mutual understanding and cosmopolitanism in the face of widely spread apathy and unwillingness to cooperate. The motivation has been a major connecting point for all of us – to communicate freely on the basis of artistic expression within spaces that allow our imagination to run wild, and at the same time reflect upon history, architecture, social and other issues and urban habitat – to find our own place within a particular city structure.

The festival is an annual international art event with performances, installations, presentations and workshops that takes place in different spaces throughout the city of Sofia and in Bulgaria.

From a very local grassroots-based initiative, we have become the most important international contemporary art festival in Bulgaria, using abandoned buildings and art in public spaces.

The purpose of the project is to attract public attention to our immediate urban environment filled with abandoned spaces and tackle issues of tolerance, democracy and environment via contemporary art using socially engaged artworks. By working with abandoned buildings we present issues of importance to the local community, and engage marginalised groups and different generations.

Water Tower Art Fest

Water Tower Art Fest, Sofia, 2013.

Type: Art Festival People: Oli Gots, Georgi Kambourov, Teodor Nenov, Nia Pushkarova, Elena Radeva Year of founding: 2006 Motto: The power of art is unquestionable and we would like to use it.

Main focus: International platform for artistic exchange in Bulgaria focusing on working with abandoned buildings.

www.watertowerartfest.com | info@watertowerartfest.com

Water Tower Art Fest

Water Tower Art Fest, Sofia, 2013.

AIM Plovdiv 2018.

Photo: Mariko Hori.

AIM 2018–2021

Plovdiv 2019 – Local Connections, getting to

AIM Stockholm

and establishing new contacts for the con-

11–13 April 2018 Hosted by Supermarket 2018 – Stockholm Independent Art Fair, Stockholm, Sweden The main focus of the meeting was on presentations by invited guests and introduction of the new three-year plan for AIM Network’s activity in 2018–2021. The participants took

know the locality and local context of Plovdiv, ference the following year. The participants took part in presentations and workshops organised by Process Space Art Festival.

Participants: 1646 (NL), Artist-Run Alliance (IL/DE), Candyland (SE), KRÆ syndikatet/The Syndicate of Creatures (DK), Process Space Art Festival (BG), >top (DE), Water Tower Art Fest (BG)

part in Supermarket’s public and internal pro-

AIM Plovdiv 2019 – Local Connections

gramme and also had the opportunity to get

1–10 June 2019

a guided tour around Stockholm’s artist-run

Organised by Water Tower Art Fest/IME Asso-

spaces.

ciation and Candyland in collaboration with

Participants: 1646 (NL), Candyland (SE), KRÆ syndikatet/The Syndicate of Creatures (DK), MUU (FI), Sant Marc (ES), Small Projects (NO), >top (DE), Totaldobze (LV), Water Tower Art Fest (BG).

Invited guests: Artist-Run Alliance (IL/DE), Berlinskej model (CZ), Wykwit (PL)

Plovdiv 2019 European Capital of Culture,

AIM Plovdiv 2018 24–27 May 2018 Hosted by Process Space Art Festival, Plovdiv, Bulgaria and >top, Berlin, Germany

at SKLAD, Plovdiv, Bulgaria The project brought together a range of European artist-run initiatives to connect the independent Bulgarian art scene with the surrounding regions and internationally, and hosted public workshops, a panel discussion, guided tour and exhibition. The content was built on AIM Network’s long-term goals to facilitate connections, build new collabora-

AIM Plovdiv 2018 was an internal meeting

tions, strengthen the artist-run scene and

focused on planning the programme of AIM

make it accessible to the public. It developed

the concept of working on a large-scale local

AIM Riga 2018 was dedicated to planning and

basis across different but interconnected

development of the Creative Europe project

neighbouring regions. Despite the state bor-

Artist-Run Network Europe focusing on trans-

ders, artists often share similar issues, com-

ferring knowledge within the artist-run sector,

mon traditions and discourse in con­temporary

introducing a coherent artist-run education

art, yet often they do not have the opportunity

system to the academia, and answering the

to meet in person and exchange their expe-

need for a digital platform within the ar-

rience.

tist-run sector – an artist-run resource centre.

Participants: AEther (Sofia, BG), Candyland (Stockholm, SE), Doma Art Foundation (Sofia, BG), International Performance Art Festival and Meeting (Tokyo, JP), KRÆ/The Syndicate of Creatures (Copenhagen, DK), Lateral Art Space (Cluj-Napoca, RO), LTMKS (Vilnius, LT), Ormston House (Limerick, IE), PASAJ (Istanbul, TR), Press to Exit (Skopje, MK), Sant Marc (Sineu, Mallorca, ES), Small Projects (Tromsø, NO), Snehta Residency (Athens, GR), >top (Berlin, DE), Water Tower Art Fest/IME Association (Sofia, BG) Site visits: Art today (Plovdiv, BG), CU29 (Plovdiv, BG), the fridge (Sofia, BG), Kapana Plovediv (Plovdiv, BG), Art Studios ‘Maritsa’ (Plovdiv, BG), Studio 2 (Plovdiv, BG), Gallery Geshev Arsenal of Arts (Plovdiv, BG)

Participants: 1646 (NL), Artist-Run Alliance (IL/DE), Candyland (SE), KRÆ/The Syndicate of Creatures (DK), LTMKS (LT), Ormston House (IE) >top (DE), Totaldobre Art Centre (LV)

AIM Riga 2019

Videos by: 1646 (NL), Artist-Run Alliance (IL/DE), Candyland (SE), Lateral ArtSpace (RO), LTMKS (LT), MUU (FI), Ormston House (IE), PASAJ (TR), Sant Marc (ES), Small Projects (NO), Snehta (GR), The Syndicate of Creatures (DK), >top (DE) and Totaldobre Art Centre (LV)

18–20 September 2019 Hosted by Totaldobre Art Centre and Free Riga, Tallinas ielas kvartāls, Riga, Latvia

Artist-Run Feature 2021 April–June 2021 Coordinated by Candyland, Stockholm, Sweden, and Ormston House, Limerick, Ireland Artist-Run Feature was a series of short films presenting members of AIM Network – artist-run initiatives of various natures from across Europe and beyond in order to raise the awareness of the artist-run scene.

Members of AIM Network are: 1646 Experimental Art Space– den Haag, Netherlands (www.1646.nl) Artist-Run Alliance – Tel Aviv, Israel/Berlin, Germany (www.artistrunalliance.org) Candyland – Stockholm, Sweden (www.candyland.se) Lateral ArtSpace – Cluj-Napoca, Romania (www.lateralartspace.com) LTMKS – Vilnius, Lithuania (www.letmekoo.lt) MUU – Helsinki, Finland (www.muu.fi) Ormston House – Limerick, Ireland (www.ormstonhouse.com) PASAJ – Istanbul, Turkey (www.pasaj.org) Sant Marc – Sineu, Mallorca, Spain (santmarcair.wordpress.com) Small Projects – Tromsø, Norway (www.smallprojects.no) Snehta – Athens, Greece (www.snehtaresidency.org) The Syndicate of Creatures – Copenhagen, Denmark (www.tsoc.zone) >top – Berlin, Germany (www.top-ev.de) Totaldobže Art Centre – Riga, Latvia (www.facebook.com/Totaldobze) Water Tower Art Fest – Sofia, Bulgaria (www.watertowerartfest.com)

Former members of AIM Network are: Alma Enterprices – London, United Kingdom (www.almaenterprises.com) TPTP Space – Paris, France (www.sites.google.com/site/tptptext) Ptarmigan – Tallinn, Estonia (www.ptarmigan.ee) Microwesten – Berlin/Munich, Germany (www.microwesten.de) TYS Exhibition Space – Copenhagen, Denmark (www.tys-hys.tumblr.com) Supermarket – Stockholm Independent Art Fair – Stockholm, Sweden (www.supermarketartfair.com) Alpineum Produzentengalerie – Luzern, Switzerland (www.alpineum.com)

Contact Network coordinators Alice Máselníková, alice@artistsinitiatives.com Andreas Ribbung, andreas@artistsinitiatives.com W: www.artistsinitiatives.com F: @ArtistsInitiativesMeetings Media partners Artist-Run Alliance (www.artistrunalliance.org) Alternative Art Guide (www.alternativeartguide.com) Supermarket – Stockholm Independent Art Fair (www.supermarketartfair.com) ARNE – Artist-Run Network Europe (www.artistrunnetworkeurope.eu) Funders Nordic Culture Point/Nordic-Baltic Mobility Programme Swedish Arts Council City of Stockholm Editor: Alice Máselníková Graphic design: Andreas Ribbung © AIM Network/Föreningen Candyland Printed in Tallinn 2021 978-91-527-0517-9

Andreas Ribbung, ‘European Network’

AIM Network (Artists’ Initiatives Meetings Network) is a European network of artist-run initiatives.

AIM Network organises meetings, conferences, exhibitions and seminars around Europe to exchange experience, share knowledge and increase mobility and cooperation between artist-run initiatives and enhance their visibility.

www.artistsinitiatives.com @ArtistsInitiativesMeetings 978-91-527-0517-9 With support from Nordic Culture Point/Nordic-Baltic Mobility Programme, Swedish Arts Council and City of Stockholm