Firstly Christiane Werner from Leipzig Germany. Two things connect me to that place.
I have had work exhibited there 2 or 3 years ago in something called “Ereignis Druckgraphik” which was coordinated by an organization called Bund Bildener Kunstler
If you manage to find the event “Ereignis Druckgraphik” on the website well done - but then the images of about half of the artists who participated, in the exhibition along with myself, have the jpegs next to their textual info. missing and no link to their website ??.
Well what can I say..I have contacted them three times BUT...........
The other way in which I feel somewhat connected to Leipzig is through my association with an artist called Ute Haring, who I met while I was studying for my M.A. printmaking at what was then called Wimbledon School of Art in London. We exhibited together at the Triskel Arts Centre in Cork, Ireland. Another printmaker on the course - Angelo Evelyn made up our trio.
I put forward the proposal to T.A.C., and they accepted it. We had to put in an enormous amount of work to make it all happen. Angelo flew over from Holland, where he lives, with his works rolled up in a tube. I seem to remember he had had them specially laminated for the purpose of the exhibition. Ute took her artworks over on the ferry and she must have taken my pieces too, I was very grateful for this. I had three installation pieces one of which was quite large and had to be cut up into sections and then reassembled.
I certainly would'nt make work of that nature now - I mean one has to consider its construction deconstruction and its transportation right from its inception. Besides which I like using a method, whereby one builds up to the completed installation from many smaller units.
My more recent piece "Aran" was an example of this. I have posted it over to Sweden, with detailed installation instructions, and it was safely returned at the end of the show.
OK it was a bit costly to post BUT it was a lot easier that taking it over there or having to have a special crate made, and pay specialist art carriers. I mean one has to consider costs as these are usually borne by the artist and although there are bodies like the British Council who promote the idea that they support artists exhibiting overseas by providing grants to help with such things - they do'nt !!
Well they probably do - but there must be some 'unknown criteria' which qualifies who gets the funding and who does'nt.
i mean .....what do you say when you get a phone call from the British Council, several weeks subsequent to making such an application and they say "What will you do if you don't get this grant"? .....
"WHAT!!!!"-----I thought to myself ... - I was completely caught off guard.............I had to be quick thinking - were they trying to find out if I was thoroughly professional and e.g., if I did'nt get the grant would I just drop it......it was an awful thing to do . I am thinking now I should have made a formal complaint about the matter.
Anyway I said I would try to somehow manage to still keep to my commitment to the gallery - maybe that was my downfall as we didnt get a grant from them.
I would be interested in people thoughts on this ??
I actually wish I had dropped it because the Triskell gallery let us down big time in the sense that they did no promotion of the exhibition and given that we were "out of towners" we certainly needed that. By the time I became aware of it - it was too late.
They did print invitations and organize an artists talk which I gave which had people in attendance, but that was it..
I found out later that there had been some major internal politics going on there and a new curator/team had been instated and that this had UNFORTUNATELY coincided with our exhibition.
I think the whole experience put Angelo and Ute off me , but it hadn't really been my fault although when you are deeply involved in generating the creative work and trying to keep up to date with fellow exhibitors as to whats what - its all a bit much, to contend with. I have'nt organized anything similar since.
If I did I would be going through expectations on the side of the exhibitors and the gallery with a fine tooth comb.
I had taken it as a 'given' that they were a professional fine art gallery and that they would do the right thing by us.
Never mind you live and you learn no matter how old you are there always seems to be issues that arise.
I am afraid my posting to my blog has really fallen down lately and I had thought to make at least a wee post about a couple of artists I had come across of late that I had admired - I mean that's one of the joys of the internet.
And then I end up relating previous experiences of an unpleasant nature BUT these things do happen!!. And Yes - I have in the past been treated badly by galleries - I have had my artwork stolen and have also not been paid fully for sold artworks. I am afraid that there are as many blagards in the fine art field as there are in any walk of life.
lets end with something uplifting........I particularly liked this piece by Ludmila Armata, who was born in Poland but now lives in Canada. I like the energy and the nature of the marks.
No individual website but you can see some further works by her HERE