Zoo Education:

MA Curating Contemporary Art -
Salon Discussion

Where do we go from here?

Wednesday 27 January from 6.30pm
Senior Common Room, Darwin Building
Royal College of Art, Kensington Gore, London SW7 2EU

Organised by first year MA Curating Contemporary Art students at the Royal College of Art, London.

Speakers include:
Anne-Sophie Dinant, Associate Curator, South London Gallery
Lina Dzuverovic, Co-founder and Director of Electra
Candida Gertler, Co-Director and Trustee of Outset Contemporary Art Fund
Julie Lomax, Head of Visual Arts, Arts Council England
Christian Mooney, Director, Arcade Fine Arts Gallery
Elizabeth Neilson, Curator and Head of Collection for 176 Zabludowicz Collection
Lawrence Ohana, Strategic Advisor to the Arts
Francesco Pedraglio, Caterina Riva, Pieternel Vermoortel , Directors, FormContent
Soraya Rodriguez, Founding Director, Zoo Art Enterprises
Sally Tallant, Head of Programmes, Serpentine Gallery

Over the past two decades, the UK art scene has undergone exceptional changes, rapidly becoming one of the most influential centres for contemporary art. Although the relationship between the public and private sectors has been a pivotal factor in this development, their roles have often remained relatively separate. To what extent are the boundaries between the public and private sector now becoming blurred? What are the potential benefits and pitfalls of such hybridity?

Many art organisations in UK appear to be successful examples of institutions supported by the public and private funding, drawn from sponsorship, patrons, admissions and public money. However, such models can give rise to many compromises, which can restrict the independence and artistic autonomy of an organisation. When some areas of art and culture seem to be on the verge of becoming mere tourist attractions or commodities, what are the benefits and pitfalls of this mixed economy?

In 2009 Frieze Art Fair introduced Frame, a selection of international emerging galleries presenting solo projects. At the same time Zoo Art Enterprises changed its configuration from a classical art fair to a hybrid model combining curated exhibitions and stand presentations. How has the current economic climate influenced these new strategies? And, are these developments necessary in order to attract audiences and compete with other international art events?

Due to the recession and the reduction of funding which this brought about, more funded arts organisations are having to adapt to new modes of operating on a financial and artistic level.Will these new strategies lead to a more experimental programming — given the relative independence from government policies — or a more safe and commercial approach to ensure sales and audiences?

Ultimately, what might be the organisational, financial and curatorial strategies for art organisations of the future?

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JJ Charlesworth’s article on the mixed economy in March 2010 Art Review

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