Summer 2010 Research

Page 1

CULTURE NOW?

GRAY ZONES: SUMMER SESSION 2010 SUPRASTUDIO HAS EXAMINED CULTURAL INITIATIVES FROM AROUND THE WORLD AND INDEXED METHODS OF INVIGORATING THE ECONOMIC, CULTURAL, AND SOCIAL LIFE OF A CITY.

As a first step towards defining culture now we have explored art festivals, art fairs, planned cultural cities, and non-profit organizations. We are interested in the direct comparison between these separate cultural initiatives as well as the gray zones that occur in between compiled narratives. These zones simultaneously present black and white facts while slipping into gray concepts and ambiguous definitions. The collected information was

assigned a series of metrics denoting absolute values {AREA, PRESSURE, VOLUME, POWER, ENERGY, TIME} to establish a system that measures inherent qualitative components in quantitative terms. The intent is to compile the information and recognize it as “data” without sacrificing intrinsic attributes. The possibilities that lie in this expansive project are aimed at the cultivation of city vitality.

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Emerging as a collective endeavor that provides a new experience of viewing art in response to the political changes in Eastern Europe, MANIFESTA reflects the intersection of disciplinary transformations in geography, urban sociology, political economy, anthropology, architecture and cultural theory. As a visual arts event redefining the boundaries of contemporary visual arts, Manifesta is held every two years in different locations throughout Europe for a period of 3 months. Manifesta’s headquarters are based in Amsterdam.

A BIENNIAL or Biennale refers to cultural events occurring every other year. A questionable success pattern for underrepresented cities and regions the last decade has seen the rise and decline of uncountable biennials. A broad research has produced a collection of 150 biennials worldwide with events ranging in size, budget, focus and international outreach. The Venice Biennale, the first and broadest of such events; is now 110 years old and arguably the most significant re-asserting its prominence in the global contemporary culture calendar. The Venice Biennale includes film, contemporary art, dance, theatre, architecture and music events.

DOCUMENTA is regarded as the most important exhibition of contemporary art, drawing attention from all over the world. After the period of Nazi dictatorship, it was intended to reconcile German public life with international modernity. Also known as the One Hundred Day Museum, Documenta would become an unparalleled success. The singular character of the exhibition has been preserved. Every five years, a new artistic director is chosen and the exhibition is reinvented. Documenta has advanced to become an authoritative worldwide seismograph of contemporary art.

The EUROPEAN CAPITAL of CULTURE was envisioned as a means of placing European cities on the map, while also building a cultural community within the larger continent of Europe. At the forefront of this agenda is a focus on creating renewed identities through new urban infrastructure, monetary economic gains and community outreach programs.

WORLD EXPOS are international architecture and cultural festivals. Internationally they are remembered for the icons they produce: the Eiffel Tower in Paris, the Space Needle in Seattle, the Arch in St. Louis. Most importantly, expos provide the host cities with an opportunity to redevelop a section of their city. It is important not to think of expos as an end but rather as a means for a greater goal. The high expense and even higher risk of hosting make them unfit for short-term investments. The long-term benefits vary and are often non-monetary. Their mass appeal and ability to attract visitors in the tens of millions however, make them excellent reasons to invest in a city.

Often referred to as the “Olympics of the Art World,� ART BASEL is the largest and most prestigious commercial art fair for contemporary and modern art that takes place every year for 5 days in June in Basel, Switzerland. In 2002 Art Basel expanded to the US and started Art Basel Miami Beach to happen every year for 3 days in December. Miami quickly became just as popular as the original in Basel, and has become known more for the outrageous parties and excess surrounding the event than the actual art at the fair. The Art Basel fairs are said to be a corporate marketing opportunity, tourism magnet, cultural pacesetters’ retreat and celebrity hangout all rolled into one.

5VU 7YVÄ[ 6YNHUPaH[PVU CREATIVE TIME is a non-profit organization focused on producing and promoting public art. Founded in 1974 in New York City, they have funded and curated hundreds of installations, happenings, shows, and events within New York and throughout the United States. They have sponsored projects such as the 9/11 Tribute in Light, Doug Aitken’s Sleepwalkers and the Louisville Public Art Master Plan.

PUBLIC ART FUND is a nonprofit established in New York City in 1977. They actively engage the community at large in a dialogue about the role of public art in society through “In the Public Realm�, a program to encourage participation and emerging artists. They have worked with over 500 emerging and established artists and have initiated some of the most successful public art projects of the past 30 years including Olafur Eliasson’s Waterfalls in New York City in 2008.

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576 *3<:;,9: (*96:: ;/, < : NPO - Non-profit organizations (NPO) occur all across the U.S. but often congregate around metropolitan areas and states with larger state support for the Arts. California and New York currently have the largest number of non-profits with the highest collective revenue ($15.9 billion for New York and $6 billion for California).

*<3;<9(3 (**,::0)030;@ EUROPEAN CULTURAL CAPITALS - While national attendance is typically the driving factor for a Cultural Capital, international attendance can have a positive economic impact while placing a city on the map and increasing tourism. It is important to consider and determine a city’s national or international audience relative to a city’s geographic location to structure the program in a manner that addresses this audience. Besides proximity to other cultural centers, accessibility is another important factor. Because the Cultural Capital Lille (2004) is a prominent hub for the Eurostar line to London and the French TGV network, the city enjoyed a record number of around 9,000,000 visitors to its cultural program.

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MANIFESTA - Initiated in 1996, Manifesta is a roving biennale held in changing locations throughout Europe. A new panEuropean theme or concept is developed for each city/region that Manifesta is hosted in. These themes often reflect political, social and economical statements based on the cities’ internal issues.

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DOCUMENTA - The city of Kassel has expanded its urban infrastructure to keep pace with the burgeoning demand established by the required capacity to host the exhibition and its attendees. Hotels, restaurants, parks, rail lines and bridges have all been incorporated into the city fabric to feed the symbiotic relationship between Kassel and Documenta.

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( 4030;(9@ 6<;76:; ),*64,: ( *<3;<9(3 +,:;05(;065 DOCUMENTA - Kassel, a small town of 200,000 in Germany’s geographic center, was transformed to a military industrial outpost fabricating tanks and artillery during World War II due to its Euro-centric location. In 1945, it was heavily bombed by the Allies to destroy the Nazis weapons cache eradicating both the city’s infrastructure and its population (approx. 50,000 survived). In 1955, Documenta was initially organized as an embedded exhibition in the city’s Federal Horticulture Show. It was conceived to demonstrate not only Germany’s recognition of the present contemporary art scene that was censored and outright rejected by the Third Reich, but also its intent to rejoin the ranks of international diplomacy. Kassel’s central location proved pivotal in uniting not only the country along its East and West divide, but also in embracing the European continent as a whole. The first Documenta was an instant success and soon established itself as its own independ-

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EXPOS - World expos have never been about art. They have always been about politics and national pride. During the cold war, the American pavilions were monuments to capitalism and the American way of life while the pavilions of the Soviet Union were advocating communism. Cultural events like the world’s fairs became the battlegrounds on which the cold war was fought and a source of national pride. American pavilions were primarily funded by the federal government until recently when a misinterpretation of federal law lead to the privatization of pavilion costs. The private corporation formed to create the most recent pavilion in Shanghai, SE2010, had to pursue corporate sponsorship to fund the American pavilion. The fundraising efforts were so behind schedule that Secretary of State Hillary Clinton had to step in and help. Clinton’s involvement generated $60 million for the pavilion making it one of the most expensive (yet unsuccessful) at the expo. “Even the North Korean and Iranian pavilions, located side by side, seemed more invitingâ€? (Washington Post). During the Cold War, American pavilions had a clear purpose politically and there was a more straightforward competitor. Today, American pavilions have lost both their vision and their tenacity. This year’s Shanghai expo appeared to be afraid of offending the host nation due in large part to the fact that China is major trade partner with the United States. The pavilion and its content had no mention of anything that could be considered a critique of the Chinese way of life, including American ideals like freedom of speech and religion, staples of American pavilions past.

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;/05205. 365.0;<+05(33@ BIENNIALS - Karlo Andrei Ibarra’s neon sign sculpture ‘Vivo En America’ showcased at the ‘Biennial of the Americas’ in Denver, Colorado, addresses the common misunderstanding of the word “Americaâ€? as a USA-centric entity which often excludes territory north and south of the United States. The work also plays with key issues of the biennial as an event that attempts to redefine the geographical region of the Americas through economic, social, cultural and political means. The show begins a prudent conversation regarding identity in “Americaâ€? which is a refreshing departure from the typical Eurocentric approach seen at other biennials.

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The core of public art is the relation of the work to its context. The New York City Waterfalls project by Olafur Eliasson is an excellent example of public art creating impact from a contextual relationship with the surrounding city. This project was sponsored by the Public Art Fund and lasted four months. The cost of the Waterfalls was $15.5 million and had an estimated economic impact on the city of $69 million.

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:(;<9(;05. 5@* >0;/ 7<)30* (9; :05*, ;/, Âť: CREATIVETIME and Public Art Fund are two of the most active NPO that supply artists with funding and cultivate public demand. Both agencies reside in New York City and have helped reinvent public art practice since the late seventies. The map below shows temporary and permanent projects by various artists over the years in Manhattan and begins to describe how these two agencies have saturated this location with public art.

BIENNIALS - The 4th Berlin Biennial for Contemporary Art “Of Mice and Men� projected yet another life onto Berlin-Mitte’s Auguststrasse. With a modest length of roughly a kilometer, this street connects the former Wertheim department store (now a bombed out ruin housing art initiatives and named Tacheles- Berlin slang for “talking straight�) with churches, a margarine factory (now the KW Institute for Contemporary Art), a sports ground, stables, workshops, residences from the turn of the century, GDR prefab concrete slab housing constructions, to finally end in a cemetery. Auguststrasse has seen all stages of Berlin life: called Poor Sinner’s Alley when the “sinners� were hanged openly during the 18th century, it was heavily densified during the city’s industrialization creating block structures with up to five courtyards in a row, all combining housing and production in the same structure. Most recently it has become the backbone of the Berlin art community, connecting bars, restaurants, 99-cent stores and boutiques with auction houses, art collections and law practices that open their offices for art installations and visitors.. By carefully reviewing the street’s role in Berlin after the fall of the Berlin Wall in 1989, the curators had also come across KW initiator Klaus Biesenbach’s first exhibition in Auguststrasse, “37 rooms� (1991). This exhibition combined 37 private and public spaces across the Auguststrasse with 37 curators and arts professionals, each one of them staging an event over the course of one

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week. During the 4th Berlin Biennial titled “Of Mice and Men� (2006), the curators identified 15 venues from private apartments (the inhabitants were still living there) to fire walls, from former bomb shelter basements to a church bluntly gutted from its original designation. They carefully connected art forms to spaces, applying provocation and confusion as much as beauty and mediation. The 4th Berlin Biennial also manifested the city as what has become an artist’s preferred place. Similar to the Biennial’s choice of spaces, the city continues to offer low-cost short and long-term leases for artists and cultural producers, attracting more and more sponsorships, foundations, new businesses and visitors.

6(2: ;/, -,:;0=(3 9,05=0.69(;, (556<5*,: ;6 +,:63(;, *0;@ (5 DOCUMENTA - The ambitious 05;,95(;065(3 installation of planting 7000 oak trees over an entire city was art(<+0,5*, 6- ist Joseph Beuys’s plan to initiate urban reuse. After being 95% /0./ (9; destroyed at the end of World War II, the 1950’s renovation 7(9;0*07(5;: of Kassel, Germany, left it void >/(; (5+ >/,9, of any usable public space. Jo- *0;@ =60+: seph Beuys intention was “... to ¸(9;š >0;/ ( go more and more outside to be 9,+<? among the problems of nature BIENNIALS - It is common for a *(70;(3 ¸(š 0: and problems of human beings historic city to be occupied with in their working places...â€?. Plant- vacant lots and spaces that are /,(+05. ing locations in the city’s public scattered across its urban fabspaces were determined based on site proposals submitted by residents, neighborhood councils, schools, kindergartens, local associations and others. The result, according to art critic Norbert Scholtz, offered significant opportunities for “occupying and utilizing public open space sociallyâ€? and demonstrated how the inhabitants of Kassel were directly influencing Documenta’s content as well as the city itself.

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+6 ;/, 05;,33,*;<(3 ;/05. DOCUMENTA - “You go to glamorous, sun-splashed Venice to party, gaze and graze. You come to grey, pleasureless Kassel to think.� (NY Times) Documenta has become the event that defines contemporary art. Every five years, the festival announces to an international audience of high-art participants what and where “art� with a capital “A� is heading through its driving concepts, or “leimotifs�. Whether openly celebrated or not, Kassel is renowned for being void of anything but the art.

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ric without reason or pattern. Although a handful of cities are ambitious in revitalizing their urban environments by introducing public art or architectural renovation, scattered voids seldom receive the attention they deserve. With the aid of Social Question Using Art Today (S.Q.U.A.T.), the Liverpool Biennial is able to revisit these missed opportunities by applying a new definition to these spaces. Artists from around the world were invited to rethink the identity of urban voids by creating contemporary art works to dwell within them spatially. The biennial places itself and its program within Liverpool to aid in redefining a city of culture.

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Art Basel Miami Beach: Art Parcours puts 10 site specific installations throughout Basel and Miami during Art Basel weekends.

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EUROPEAN CULTURAL CAPITALS - Given that the focus of the European Cultural Capital (ECC) is developed internally by the city itself, it is encouraged that its program makes a concentrated effort to engage its local citizens. Candidate cities are tasked with developing their own bid that takes into consideration a number of parameters including how residents will actively be involved in the process to ensure support at the regional scale. If residents become involved in the process and feel a degree of ownership, the localized intrinsic benefits of the ECC are much more likely to extend beyond the termination of the event. In 2004, the ECC of Lille (France) proposed an innovative system of ambassadors made up of local citizens that allowed anyone to volunteer and act as a relay for information while also assisting in the running of events. More than 17,000 volunteers from a variety of backgrounds responded to this initiative and became involved. This focused effort revolving around local engagement was a contributing factor to Lille’s overall success.

-6:;,905. 5,> 36*(3 +,=,3674,5; BIENNIALS - Concerned with creating a city of culture that addressed the needs of its own residents, the Liverpool Biennial and the Bloomberg New Contemporaries Organization have worked closely together since the biennial’s inception in 1999 to help local art school graduates submit work for possible exhibitions in professional galleries at the biennial. A concentrated effort was made to highlight local talent versus tap into the international art scene. This simple initiative shows that the city of Liverpool is interested in advancing creative capital while simultaneously supporting its local citizens.

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+,*,5;9(30A,+ 9,79,:,5;(;065 NPO - There are 1.5 million organizations in the U.S. and 122,223 are dedicated to Arts and Culture. The number of NPOs represents the diversity of Arts support that is available in the United States. This decentralized advocacy for the Arts is an incredibly powerful aspect that allows all types of artists equal representation.

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BIENNIALS - Known as the most historic and monumental of the biennials, the Venice Biennale is also the densest event occupying the smallest urban area of six square miles, equating to five times the size of Central Park in New York City. The event transforms more than 100 buildings during the event by occupying museums, warehouses and pavilions throughout the city. The Venice Biennale has gradually grown in size and density with an ingrained flexibility required to adapt to the city’s aging infrastructure.

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EXPOS - The scale and size of expos have an indeterminate effect on the overall success and influence of an individual expo. The Seattle Expo in 1962 had one of the smallest sites (74 acres) for expos in recent history yet it has had the most beneficial impact on its city. The smaller site allowed Seattle to focus on larger, permanent buildings rather than temporary pavilions while keeping costs down. The site used in Seattle is now known as the Seattle Center and is the current cultural nexus of the city. The current expo in Shanghai is one of the largest sites (1304 acres) in expo history and yet the event itself will have a minimal impact on the site and future city. Immediately following the expo, the site and the majority of its pavilions will be demolished. Any potential legacy attached to the city of Shanghai will be abandoned as little evidence of the expo itself will remain.

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ART BASEL - “By and large, real-estate developers whose empty towers still ring the city like Stonehenge, hotels, banks, and corporations that are betting that, good or bad times, they’ll rarely get access to a crowd this moneyed, relatively young, and globe-trotting� (NY Magazine). With close to 6,000 VIPs at Art Basel Miami Beach, corporate sponsors jump at the opportunity to get access to the exclusive clientele of art collectors. Art Basel’s partnership with UBS Bank is vital to their success. Bringing 4,000 of their clients to the event, UBS creates the demand at the fairs, making galleries and other sponsors fighting to get the opportunity to be apart of the event. Over $400 million in sales are done during the five days of Art Basel each year.

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EUROPEAN CULTURAL CAPITALS - While big-name cultural attractions and largescale events are immediately profitable and provocative over the course of a European Cultural Capital year, the local initiatives, at a fraction of the cost, deserve greater attention for their longterm impact. A Cultural Capital is not comparable to a business and cannot solely be measured in economic terms. The relationship between the marginal returns of selected cities is not an adequate criterion for success, as this fails to speak to the European Cultural Capital legacy after the event has ended. What should be assessed are improvements made in the areas of urban infrastructure, city image and community outreach. Explicit, visible benefits are important in their capacity to attract international appeal, whereas intrinsic benefits draw a city’s attention to public, cultural and creative expression. Citizens potentially become more involved with their local culture and are therefore more likely to impact the future course of the city. The driving force that initiated Cultural Capitals stemmed from a desire to ameliorate the existing divide that stood between Eastern and Western Europe, creating a collaborative cultural community termed the European Dimension. Evaluating developments from a socio-political view, Cultural Capitals have proved highly successful. Aside from the purely qualitative benefits that stem from the year of celebration, one must also understand that in order to set the stage for a successful Cultural Capital, the city must plan on the investment of substantial capital. This is commonplace among Cultural Capitals as cities encounter large urban and infrastructural improvements. Host cities must prove that Cultural Capital events will be financially supported on their own as the European Union only provides an initial award of $2.3 million. In comparison, Liverpool (2008) had a total investment of nearly $6 billion for city and infrastructure improvements.

MANIFESTA - For the seventh consecutive year, Manifesta has continued to produce socially and politically challenging topics attended by masses of over 150,000. Where some organizations are often lured by the prospect of creating money-making machines, Manifesta proves through its high attendance levels that despite a lack of profitable revenue, a festival addressing political and social discourse of a location transcends monetary value. The latest installment of Manifesta in Trentino, Italy, required a budget of roughly six million Euros, half of which was contributed generously by the host country despite no promise of an immediate monetary return. Though total ticket revenue produced almost 12 times less than the amount invested in the event, the festival continues to succeed on more intrinsic levels.

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BIENNIALS - Since 1999, Liverpool had hopes to be recognized as a city of culture in the northwest UK region. To encourage attendance, the biennial provided free exhibitions and events throughout the city creating an event that was dedicated to defining local culture as well as showcasing regional and international contemporary art. With only a small budget of approximately $3 million (notably equal to the NEA’s budget for the Mayor’s Institute on City Design), the 2008 Liverpool Biennial yielded over one million visits. The event proved successful in both exhibiting contemporary art and contributing to economic growth as it generated a return of $40 million.

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The lack of direct government funding also makes it difficult for NPOs to get started. The early years are critical for NPOs to establish their funding streams and locate their purpose within the Arts ecology. If US cities would establish an NPO infrastructure, it will have to allow for incubation time which would require short term government support. -<5+05. :6<9*,: -69 < : 576Âť: 36*(3 :;(;,

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9,=0;(30A05. ( *0;@Âť: 0+,5;0;@ EUROPEAN CULTURAL CAPITALS -The European Cultural Capitals are not only a series of events and programs about art and culture, but also offer the host city a golden opportunity to regenerate its image through physical means. In order to meet the capacity demands imposed by hundreds of high-level events and millions of visitors throughout the year, Cultural Capitals typically require the construction of new facilities which can include museums, theatres, hotels and transit hubs such as rail stations and airports. In 2008, Liverpool (United Kingdom) was exemplary in this regard as a focal point of the pro-

67769;<50;@ ;6 9,.,5,9(;, 0;: 04(., ;/96<./ 7/@:0*(3 4,(5: gram’s agenda required the transformation of an abandoned industrial port into a revitalized cultural area with a new museum, theatre, and train station. The revitalization fostered activation of the port’s surrounding urban fabric yielding 3 billion pounds of investment and creating twelve thousand new jobs. In 2003, the city of Graz (Austria) added noteworthy buildings such as Peter Cook’s Kunsthaus and Vita Acconci’s Island on the Mur in a previously neglected area of the city. The facilities directly influenced the renewal of the surrounding riverside area known as the Lend/ Gries district. A cultural district was born from a previously neglected piece of city infrastructure.

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ART BASEL - “It’s a corporate marketing opportunity, tourism magnet, cultural pacesetters’ retreat and celebrity hangout all rolled into one. Where else could you see A-Rod mingling with septuagenarian artist John Baldessari, taste-making collectors such as South Beach boutique-hotel developers Don and Mera Rubell dropping tens of thousands of dollars on artists no one has heard of from countries few had considered, and, in the middle of it all, people whispering at parties about whether that skin color comes from ‘tan in a can’ or UVB lights?� (CNN Money) Whether this focus is considered positive or negative, Art Basel brings a lot of money into Basel and Miami on a yearly basis. On sales tax alone, Miami generates $24 million off the sales that take place at the fair. It has led to the “SoHo effect� in the arts district and contributed to the rapid development of the area which since 2007, has 94 projects approved or under construction in an eighteen square block area.

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ART BASEL - “Miami is really just about the party scene.� (NY Magazine) Miami is known for its outrageous parties and the extravagant scene more than the art itself. Galleries often conservatively edit their selections based off what they know will sell and sponsors throw more and more money each year at the luxurious parties to entertain and appease the rich. It’s the place “to be seen� rather than “to see�.

MANIFESTA - Though Manifesta was conceived upon the notion of creating a platform for new and young contemporary artists to display their work, the lack of space and resources proved unfeasible without a formal review process. As a result, Sal Randolf, an exhibiting artist for Manifesta 4, challenged this notion of exclusivity by purchasing a physical location for $15,099.00 through an Ebay auction. Random participants were invited to engage with this space and exhibit their work, regardless of skill level. Over 225 artists and groups participated in this public art project later titled “Free Manifesta.� Even though it officially ended with the close of Manifesta 4 in Frankfurt, its website, FreeManifesta.org, remains accessible creating an archive that allows the general public to contact the amateur artists for information and future job opportunities.

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+(@: .<,:;: DOCUMENTA - In 1997, the artistic director Catherine David pushed the theoretical concept that aesthetic production should also incorporate its political environment. She wanted visitors to “recognize the state of the world� as the twentieth century came to a close and prompted her to label the Documenta X as the “manifestation culturelle� where political, social, cultural and aesthetic positions were traced alongside art. With this thought in mind, David intended to go beyond the mere presentation and displaying of art and created the discussion forum “100 Days 100 Guests� to create a platform for discussions by artists, scholars, scientists, authors and architects on questions pertaining to arts and society. The forum was made open to not only attendees of the exhibition, but the general public as well with no admission fee collected. Catherine David’s effort to engage the art world beyond its physical product has been embraced by the festival ever since and has become a permanent part of Documenta’s program.

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EXPOS - This year’s expo in Shanghai covers one of the largest sites ever used for an expo, 1304 acres, and also has one of the largest budgets. 192 different countries have come to Shanghai and 42 of them have built their own pavilions making this expo the most widely participated in history. The theme of the expo is “Better City, Better Life�. A major portion of this theme, and a central focus for most of the participants, is sustainable living. Ironically, immediately following the close of the expo, the site will be demolished dismantling all but the four Chinese pavilions. The site that is currently housing the Shanghai Expo previously housed 18,000 residences and will later be home to an entirely new development that is already planned for the site. The site will be forever changed because of the expo, but there will be little evidence that it ever existed.

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DOCUMENTA - Over the years, Documenta has been expanding and subsequently weaving itself into the local context of the city of Kassel through the reclamation of destroyed and abandoned buildings. By reusing structures like the now-defunct central railway station, the festival recharges peoples’ interest in their own city. For each festival, the curators have been allowed

;/, :;9<*;<9, 0: 56; ()(5+65,+ )<; ),*64,: ( 7,94(5,5; 70,*, 6- ;/, *0;@ to shift venues used and established new ones according to their own ideas which allows the exhibitions to best fit the times in which it is held. Typically, after its use, a venue becomes adopted as part of the city fabric and is repurposed with an art-related program. With each venue used, the structure is not abandoned, but becomes a permanent piece of the city.

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)9(5+05. 65 *<3;<9(3 EUROPEAN CULTURAL CAPITALS - As a brand, the European Cultural Capital is inconsistent as one entity as it involves a continually changing locale. There has been a long-term infatuation with the idea of labelling the cities in a very commercial fashion, and in large this effect is fleeting: logos are inconsistent from year to year and when grouped together, speak to the tacky commercial component embedded within each capital designation. Similarly unfortunate is much of the core program, the bulk of which includes temporary and very costly events. While these events cannot be termed unsuccessful for their one-time experience as they spark a great deal of local and international attention, they will not prove economically, socially or culturally beneficial over the long haul. As such, it makes little sense for the bulk of expenditure to be invested in something fleeting by nature. Any amount spent on smaller, more-permanent cultural structures possesses the potential to grow and flourish over a longer period of time. Therefore, efforts should go towards the definition of a balance between the temporary and permanent and where this balance lies in terms of a measurable ratio.

(5 <9)(5 4,*/(50:4 -69 */(5., MANIFESTA - A catalyst for reimagining the use of social space in one of Spain’s most impoverished areas, the fifth instalment of Manifesta redefines the organization of a dilapidated village through an urban renewal project. The Rotterdam-based Berlage Institute collaborated with Manifesta to demolish a defunct ship building plant and old warehouse, transforming the spaces into a new gallery and museum. Though revitalizing the spaces has created a new identity for this deprived community, residents deemed the exhibit itself as banal with its white walls and “ordinary spaceâ€?. The question then begs‌.should one sacrifice urban improvement for temporal aesthetic quality?

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,56<./ 0: 56; ,56<./ BIENNIAL- Today, there are more than 120 biennials around the world. Artists or enthusiasts who are interested in contemporary art should ask the question, is enough not enough? Most organizers of these biennials are aware of the high number of biennial events being hosted worldwide. Yet most organizers criticize other events for not being unique or for their failure to develop a distinctive experience. However, more than 100 of the 120 biennials are categorized as ‘pseudo biennials’. Even though there are enough identical biennial events around the world, they still continue to reproduce. Biennial is more of a brand than an event. With more than 25 biennials in North and South America, 6 in Africa, more than 35 in Asia, and more than 50 in Europe, it is clear that enough is not enough for the exhibition organizers.

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In France, Germany, Mexico, or China, most arts funding comes from the government — either at a federal or local level. These systems tend to be centralized, often located in a large ministry of culture. They provide smooth and stable planning for arts organizations, but they run the risk of dividing the cultural world into insiders and outsiders. The insider institutions tend to be well subsidized with large annual grants while the outsiders survive on the margins of culture, if they survive at all. The subsidies awarded by ministries of culture are enormous by American standards.

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In contrast to the European models, the U.S. system of arts support is complex, decentralized, and diverse. It combines federal, state, and local government support with private funding from individuals, corporations and foundations, as well as box office receipts. Only about 13% of arts support in the U.S. comes from the local government and only about 9% percent from the federal government, of which less than 1% comes from the National Endowment for the Arts (excluding the enormous subsidy the federal government provides by making cultural contributions tax deductible). Private sector giving to the arts, culture and humanities for 2009 was $12.34 billion, representing 4% of total private charitable giving. The 2009 NEA budget totalled $155 million.

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Support for the art can be broken down in terms of supply and demand. Supply represents organizations and individuals that create, perform, display works of art. Demand represents organizations or individuals that educate in the arts, mentor in the arts, discuss the arts, or write reviews. For the art sector to survive, funding needs to support both supply and demand.

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As we place qualitative aspects of each initiative in a measurable index, we find the size and scale of the events the easiest to identify but the most difficult to interpret. To begin to determine the deviation between success and failure, one must recognize the impact of individual components versus the blurred legibility

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Each cultural initiative must respond to location. The measurable components of ‘place’ extend beyond typical units of acres and geographic degrees to absorb more relative terms including proximity, accessibility and context. Sites and places are identified more for the need – or void – that is required for each initiative to take root versus the physical relationships defined by foot, mile or geographic zones. Through our study, it has been determined that each

initiative requires an embrace of the untapped potential located within the urban fabric itself in order to flourish. This potential can be filtered from many sources including the established infrastructures yearning for a new pulse as in the aging carcass of the Venice canals (BIE) as well as the nomadic, cultural institutions that seek out unfulfilled contextual relationships in their relative host cities (ECC).

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As location is defined and the area of occupation is established, local factors are identified and then harnessed to engage the community and respond to shifting influences along social, political, cultural and aesthetic nodes. These nodes begin to create a network of purposes in which individual strings begin to pull and be pulled, continually altering the configuration of the whole. In our study, we recognized that a deliberate, localized effort is necessary to not only allow a conversation between the initiative and foster

9,=0,>F>,,2 :<79(:;<+06 of the whole. Cost, attendance the quantity of venues is and square footage can only be irrelevant until the size of the relevant when an applicable scale programmed area is understood is injected into the equation and a (BIE); similarly, the extent of the relationship to other comparative cultural program involved at a factors is determined. Density of specific cultural capital cannot be information must be read before investigated until the longevity quantity of information. This of the exhibition is made clear reading of density is demonstrated (ECC). at the Venice Biennale where

local engagement, but to establish a discourse to confront issues directly and fill the identified voids. These underlying tensions range in scale from the attempt to quell ethnic infighting through educational programming (MAN) to the engagement of environmental performance art within an urban fabric in Kassel, Germany (DOC).

VITALITY

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With every input, there is an output. The art and cultural initiatives investigated are no different. Each initiative is focused on a general purpose and end result from the beginning: selling art, making visitors think, showcasing a country’s national pride or leaving a community better than when it arrived. But this is only part of the equation. Byproducts- both deliberate and accidental- continually occur. Our study found that these spinoff effects are crucial

The continual play between temporality and permanence finds itself embedded within each initiative. Similar to size, its true impact can only be measured along a spectrum relative to other scalable values. The length of the event is often indeterminate of its actual longevity as cause and effect must be studied and identified. Expiration dates need not apply. One art festival can have a lasting impact on the city’s infrastructure as both event and city grow in a mutually beneficial relationship (DOC)

while cultural cities tend to come and go with opposing accounts of leaving evidence of their existence behind (EXP). The residual impact of art initiatives can be measured in the image presented and the identity ultimately created. A message is broadcasted and an identity of the initiative is received. Time is the value to which all other metrics are compared. Time is the essence.

in understanding both the immediate and ingrained impact an event can have on local and regional areas. It is here, between the lines, where cultural goods – both conceptual and financial- are produced through various forums including the publication and education workshops of contemporary art festivals (DOC), the tourism and sales tax dollars of Miami Beach (ABM) and the image makeovers of abandoned infrastructures (ECC).

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The research thus far has lead to a collection of statements and opinions that will help us select a U.S. city. These statements are either metrics for success or core parameters that are critical tools for further exploration. In our studies, we continually return to revenue and economic impact to determine if it is a critical component of successful art initiatives. The results are mixed. Any institution or business needs to be economically solvent to survive and ultimately push its product. The initiatives that reflect more basic business models seem to attach itself to revenue streams and overall profit as a driving factor to their success (AB). Other initiatives see money as a means to an end

- an intellectual investment with intrinsic returns. Ambitious agendas focused on uniting political and social irregularities (MAN) and event programs dedicated to revitalizing previously neglected urban infrastructures (EXP) certainly require funding to bankroll the process, yet the residual effects on the community can have a much larger dividend than the original investment. Money is power; power is not always money.

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Web. 16 Sept. 2010. <http:// www.kulturstiftung-des-bundes.de/cms/en>. | Leifeld, Bernd. “Documenta.” Documenta. 03 Mar. 2010. Web. 16 Sept. 2010. <http://www.documenta.de/>. Maschmann, Werner. Documenta 11_Platform 5: Ausstellungsorte : Exhibition Venues : [Kassel, 8. Juni - 15. September 2002]. Ostfildern-Ruit: Hatje Cantz, 2002. Print.| Messerschmidt, Christine. “Kunsthalle Fridericianum.” Kunsthalle Fridericianum. 23 Feb. 2008. Web. 16 Sept. 2010. <http://www.fridericianumkassel.de/>. | Nachtigäller, Roland, and Velsen Nicola. Von. Documenta IX. Stuttgart: Edition Cantz, 1992. Print. | Stehr, Werner, and Johannes Kirschenmann. Materialien Zur Documenta X: Ein Reader Für Unterricht Und Studium. Ostfildern-Ruit: Cantz, 1997. Print. | Stengel, Karin. “Documenta Archive.” Documenta Archiv. 16 Nov. 2005. Web. 16 Sept. 2010. <http://documentaarchiv.stadt-kassel.de>. | Westecker, Dieter, and Carl Eberth. Documenta-Dokumente: 1955-1968 ; Vier Internationale Ausstellungen Moderner Kunst ; Texte Und Fotografien. Kassel: Wenderoth, 1972. Print. | MANIFESTA | Paul Domela. Manifesta coffee breakLiverpool : Liverpool Biennial, 2005. | Barbara Vanderlinden and Elena Filipovic. The Manifesta decade : debates on contemporary art exhibitions and biennials in post-wall Europe.Cambridge, MA : MIT Press, 2005. [curators, Iara Boubnova, Nuria Enquita Mayo, Ste?phanie Moisdon Trembley]. Manifesta 4 : European biennial of contemporary art. OstfildernRuit : Hatje Cantz, 2002. | Baumgardner, Jennifer. Manifesta : young women, feminism, and the future / Jennifer Baumgardner and Amy Richards. New York : Farrar, Straus and Giroux, 2000. Manifesta (2nd : 1998 : Luxembourg, Luxembourg). Manifesta 2 : European Biennial for Contemporary Art. Luxembourg : Agence luxembourgeoise d¡¯action culturelle a.s.b.l. : Casino Luxembourg-Forum d¡¯art contemporain ; Amsterdam : Distribution, Idea Books, 1998. U.S NON-PROFITS | Laura Zakarsas and Julia Lowell: Cultivating Demand for the Arts, Rand 2008 | Kevin McCarthy et al, Arts and Culture in the Metropolis, Rand 2007 | Kevin McCarthy et al, Gifts of the Muse Rand 2004 | Creative Time, “Louisville Master Plan” <www.creativetime.org> | Public Art Fund <www. publicartfund.org> | National Endowment for the Arts, “Effects of Arts Education on Participation in the Arts”, “Artists in the Workforce”, “How the United States Funds the Arts”, “Arts Participation 2008” <www.nea. org> | National Center for Charitable Statistics, <www. nccs.urban.org> | Giving U.S.A. <www.givingusa. org> | Americans for the Arts <www.artusa.org> | U.S. Census Bureau American Factfinder < http:// factfinder.census.gov/home/saff/main.html?_lang=en>

MOVING FORWARD SUPRASTUDIO WILL CONTINUE TO RESEARCH CULTURAL INITIATIVES WHILE MOVING TOWARDS DEFINING U.S. CULTURE NOW. IT WILL DEVELOP A HYBRIDIZED CULTURAL PLAN FOR A CITY OF 400,000 PEOPLE COMPLEMENTING THE NEA’S MAYOR’S INSTITUTE ON CITY DESIGN, MULTIPLE CITIES U.S. CITIES WILL BE INVESTIGATED AS PROTOTYPES FOR FUTURE WORK.

THOM MAYNE

WITH KAREN LOHRMANN DYLAN BARLOW EMILY CHENG GRADY GILLIES CHENG HA CHRISTOPHER HARRIS MATTHEW KENDALL WAYNE KO JAI KUMARAN RANDY MACHADO LAYTON PETERSEN STACEY RIGLEY CLAYTON TAYLOR BRYAN TRANBARGER SEPA SAMA YANG WANG

Special Thanks to: Hitoshi Abe, Dana Cuff, Stefano de Martino, Francois Perrin, Jason Payne, Legier Stahl, and Richard Weinstein for their insight and critical advice, and Caroline Blackburn, Nayla Huq, Jim Kies, Areli Lucatero, Jacquelin Montes, Frances Saunders, and Philip Soderlind. This exhibition and publication is made possible with support from Herta and Paul Amir Joyce and Aubrey Chernick Ralph and Shirley Shapiro The Suprastudio Summer Session included seminars by Julia Lowell and Laura Zakaras of the RAND Corporation Jason Payne of UCLA AUD

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We have made every attempt to cite complete sources, contact publishers for the rights to excerpt texts, and credit the photographers involved.

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UCLA Architecture and Urban Design pursues issues confronting contemporary architecture and urbanism through five different degree programs offering a B.A. in architectural studies degree, two professional degrees (the Master of Architecture I and II) as well as the M.A. and Ph.D in architecture. Our primary focus on advanced design is accompanied by concentrations in technology and critical studies of architectural culture. 1317 Perloff Hall, Los Angeles, Ca 90095-1467 Telephone: 310 825 7857 Facsimile: 310 825 8959 email: info@aud.ucla.edu web site: www.aud.ucla.edu

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