Artists as Curator

1. Artists as Curator

2. Artistsrun Exhibitions places/Kunstnerstyredeudstillingssteder, Kunstnerkollektiver in DK. 68m2 Art Space Prags Boulevard 43 2300 København S
www.68squaremetres.org   ANTECHAMBER
Strandlodsvej 9F
2300 København S
www.antechamber.dk ANA - Astrid Noacks Atelier
Rådmandsgade 34, baggården
2200 København N
www.astrid-noack.dk Det Fri Universitet, Københavnhttp://www.copenhagenfreeuniversity.dk/ ET4U
c/o Karen Havskov Jensen & Klavs Weiss
Neesvej 70, Nees
7570 VembTlf.: +45 9788 4216
et4u@et4u.dk
www.et4u.dk GalleriNybroNybrogade 30
1203 K
www.galleri-nybro.dk Green is Gold Studio
Hyskenstræde 3. portentv.
1207 København K
mail@gigstudio.dk 
www.gigstudio.dk HannemannLundVærnedamsvej 11
1819 Frederiksberg
www@hannemannlund.dk HygumKunstmuseumKlostervej 26
7620 Lemvig

3. www.hygumkunstmuseum.dk IMO
Ny Carlsberg Vej 68 OG
DK-1760 Copenhagen
Tlf.  33797272
www.imo-projects.com Koh-i-noorDybbølsgade 60
1721 København V
www.koh-i-noor.org KONTOR PROJECTS
Værnedamsvej 7a, Baghuset
1819 Frederiksberg C
www.kontorprojects.dk MODTAR projects
Teglgårdstræde 3, baghuset
1452 København K 
www.modtarprojects.com N55
www.n55.dk
n55@n55.dk NLHspaceVesterfælledvej 63
1750 København V
www.NLHspace.dk OK CorralMalttorvet 2
1799 Københavnwww.ok-c.org Projektrum D7
Classensgade 7D, kld.
2100 KøbenhavnØ Publik.dkRoarsvej 6, kld, tv
2000 Frederiksbergwww.publik.dk rum46
Studsgade 46, st. tv.
8000 Århus C
Tlf. 86208625
www.rum46.dk SKOVSNOGEN
Døvlingvej
6933 Kibæk 
www.skovsnogen.dk Space Poetry / Pist Prottawww.spacepoetry.dk
Ahlefeldtsgade 24, 3.
1359 København K
jf@spacepoetry.dk SYDHAVN STATION
Ernst Kapers Vej 1
2450 København SV
www.sydhavnstation.info

4. TOVES GALLERI
Vesterbrogade 97
1620 København V
www.tovesgalleri.net Tryk Tryk Tryk
Pasteursvej 48
1778 København V
http://tryktryktryk.org Udstillingsstedet Spanien 19C
Kalkværksvej 5A
8000 Aarhus C
www.spanien19c.dk WAREHOUSE9
www.warehouse9.dk

5. Exhibitionsplace LXX01.05.95-01.10.99

6. Venice Biennale: The first Biennale was held in 1895; during the first editions, decorative arts played an important role. The event became more and more international in the first decades of the 20th century: from 1907 on, several countries started installing national pavilions at the exhibition. After World War I, the Biennale showed increasing interest in innovative traditions in modern art. Between the two World Wars, many important modern artists had their work exhibited there. National Pavilions[edit source | editbeta] The Giardini houses 30 permanent national pavilions. Countries not owning a pavilion in the Giardini are exhibited in other venues across Venice. Alongside the Central Pavilion, built in 1894 and later restructured and extended several times, the Giardini are occupied by a further 29 pavilions built at different periods by the various countries participating in the Biennale. The number of countries represented is still growing. In 2005, China was showing for the first time, followed by the African Pavilion and Mexico ( 2007), the United Arab Emirates (2009), and India (2011).[11] The assignment of the permanent pavilions was largely dictated by the international politics of the 1930s and the Cold War. There is no single format to how each country manages their pavilion. The pavilion for Great Britain is always managed by the British Council while the United States assigns the responsibility to a public gallery chosen by the Department of State which, since 1985, has been the Peggy Guggenheim Collection.[12] In 2011, the countries were Albania, Andorra, Argentina, Australia, Austria, Azerbaijan, Bangladesh, Belarus, Belgium, Brazil, Bulgaria, Canada, Chile, China(PR), Congo(DR), Costa Rica, Croatia, Cuba, Cyprus, Czech and Slovak Republic, Denmark, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Japan, Korea, Latvia, Lithuania, Luxembourg, Macedonia, Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russia, San Marino, Saudi Arabia, Serbia, Singapore, Slovenia, South Africa, Spain, Sweden, Switzerland, Syrian Arab Republic, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, and Zimbabwe. In addition to this there are two collective pavilions: Central Asia Pavilion and IstitutoItalo-Latino Americano. Role in the art market[edit source | editbeta] When the Venice Biennale was founded in 1895, one of its main goals was to establish a new market for contemporary art. Between 1942 and 1968 a sales office assisted artists in finding clients and selling their work,[7] a service for which it charged 10% commission. Sales remained an intrinsic part of the biennale until 1968, when a sales ban was enacted. An important practical reason why the focus on non-commodities has failed to decouple Venice from the market is that the biennale itself lacks the funds to produce, ship and install these large-scale works. Therefore the financial involvement of dealers is widely regarded indispensable.[3] Furthermore, every other year the Venice Biennale coincides with nearby Art Basel, the world's prime commercial fair for modern and contemporary art. Numerous galleries with artists on show in Venice usually bring work by the same artists to Basel.[8]

7. Danish Pavilion: Carl Brummer Danish pavilion was finished in 1931 and inaugurated the 18th biennial opening in 1932. The building was built in brick and plastered up, and consists of a large rectangular room with skylights. From the outside dominated the term of the colonnade in limestone, which covers the whole of the original facade.

8. In post-war years began requirements - including the size of the Danish Pavilion - to change, and the need for a new solution. Consideration was given for a period to demolish the existing building and instead participate in the project of establishing a joint Nordic Pavilion. Instead, it opted for an extension to the existing building. The task was given to architect Peter Koch in 1960. Peter Koch's approach to the task was radically different than Carl Brummer, and his unpretentious and functional extensions, made ​​of yellow brick with a flat roof, is often accused of being in disharmony with the original building. Especially from what is now the pavilion's back entrance where Brummer impressive colonnade dominates, the overall impression seem confused. Seen from the inside, the two buildings, however, quite harmoniously combined, and a diverse crowd of exhibitors over the years has managed to appreciate - and challenge - qualities of the building as an exhibition space.

10. List of exhibitors in the Danish Pavilion: • 1999 — Jason Rhoades, Peter Bonde • 2003 — Olafur Eliasson • 2005 — Eva Koch, Joachim Koester, Peter Land, Ann Lislegaard, GitteVillesen • 2007 — TroelsWörsel (Commissioner: HolgerReenberg; Assistant Commissioner: StinnaToft Christensen) • 2009 — Elmgreen and Dragset • 2011 — Taryn Simon and others (Curator: KaterinaGregos) • 2013 — Jesper Just (in collaboration with Caruso St John) • Budget 2013: • 4,8 mil. Dk.kr. From Arts council + around 1,2 mil. Dk.kr. In sponsor.

11. Why Jesper Just?

12. Jesper Just - No man is an island, 2002

13. http://intercourses.dk

26. Project projects: graphic communications system.http://projectprojects.com

30. Who controlled the process? Curator or artist?

31. TALK: Internationalenetværk - 8. august, kl. 19.30 - 21.00, Vogn 1, Godsbanen Tine Vindfeld, der ercand.mag. iModerneKulturogansatiKulturstyrelsensomkonsulentiBilledkunst, vilfortælleomnogleaf de initiativer, somStatensKunstrådsInternationaleBilledkunstudvalgstår bag. Initiativerneharalletilformål at understøttedanskebilledkunstneresogkuratorersalleredeeksisterendeinternationalenetværkogskabenyemuligheder: besøgsprogrammer, detinternationaleresearchprogramog residencies.  Vil du gernei residence, deltagei en konferenceiudlandetellervil du udpå en research rejse, såkan du her fåindsigtimulighederneogstillespørgsmål. Du ervelkommentil at orientere dig påkulturstyrelsenshjemmeside, da de næste ansøgningsfrister er midt i august. Tilmelding: Vi kunnegodttænkeos at vide, hvor mange, der gernevilkomme, og vi vilderforbede dig benytte dig afdennedoodle. Men alle er selvfølgelig velkomne til talken. --