Below are a series of videos and resource papers documenting and informing Networked, a two-day international conference organised by Triangle Network in London, on the 26 and 27 of November 2011. The network included presentations and panel discussions with artists and curators, as well as network experts, organisers, researchers and funders from around the world.
What are the principles on which cultural networks are based and why are they becoming so important at local, national and international level? Do collaborations threaten organisations and artists' independence? How do networks support artists and the production of new work?
Networked placed Triangle in the context of other networks, presenting a variety of approaches to working collaboratively, sharing ideas and resources, and gathering support. With network models and activities fast becoming a necessity as a result of diminishing funding for culture, the conference considered collaborative models for their potential to support small scale arts organisations, enabling artists to develop ambitious new work.
Through case-studies, panel discussions and workshops, the conference intended to help Triangle to reflect on its role and structure. It also aimed to inspire new ideas, strategies and connections between artists, organisers and grass-roots spaces, instigating debates and introducing strategies for future developments.
Networked was hosted and supported by Bloomberg, with additional support from Arts Collaboratory, Prince Claus Fund and Arts Council, England.
Introduction by David Elliott, Chair of Triangle Network and Gaswroks, followed by Alessio Antoniolli, Director of Triangle Network and Gasworks
In Conversation between Anthony Caro and Robert Loder, Co-Founders of Triangle Network; and Sonia Boyce, Artist. The panelist discussed the genesis of Triangle and its role for artists.
Networks as the communications infrastructure for cultural collaboration across the world'. Speakers present how different types of networks (examined during the conference) can be understood both politically and structurally: Mary Ann DeVlieg, Secretary General of IETM (International Network for Contemporary Performing Arts) (Belgium/Italy); Peter Mörtenböck & Helge Mooshammer, Co-founders of Networked Cultures (Austria/UK).
Strength in Numbers: Case studies of Networks that provide a structure for advocacy, cultural dialogue and the production of art. Chaired by: Jason E. Bowman, Co-director of New Work Network (UK) Panellists: Alessio Antoniolli, Mark Vennegoor, Head of Office at Res Artis (Netherlands); Ana Tome, Director CCE-AECID Brazil/Mexico on behalf of residencias_en_red [iberoamerica]; Todd Lester, Founder of freeDimensional (US).
Collective Thinking: The Use of Network Practices in Developing Programmes. Chaired by: David Elliott. Panellists: Charles Esche, Curator, Writer and Director of Van Abbemuseum (Netherlands); Davide Quadrio, Artist, curator, funder of BizArt and Co-director of ArtHub Asia (China); Ade Darmawan, Director of Ruangrupa (Indonesia); Boris Ondreička & Vít Havránek, Project Leaders of tranzit. (Slovakia/Czech Republic)
Artists-led: Why Do Artists Use and Create Networks? plus Closing Remarks Chaired by: Alessio Antoniolli. Panellists: Ana Maria Millan, Artist and Co-founder of Helena Producciones (Columbia); Diala Khasawnih, Artist and member of Makan and Shatana Workshop (Jordan); Tayeba Begum Lipi, Artist and Co-founder of Britto Art Trust (Bangladesh); Sonya Dyer, Artist, Writer and Project Manager (US/UK); Zenzele Chulu, Artist and Founder of Insaka (Zambia).
In Context: The Environments in which Networks Develop and Operate. Chaired by: Anna Somers-Cocks, General Editorial Director and Group Newspaper Editor (UK) Panellists: Gertrude Flentge, Programme manager at DOEN foundation (Netherlands); Jonathan Robinson founder of The Hub (UK); Carole Karamera Deputy Secretary General of Arterial Network (Rwanda); Shelagh Wright, Director of Mission Models Money and DEMOS Associate (UK).
Funding Networks: Ways of Supporting Artists and Grass-roots Initiatives. Chaired by: Stephen Escritt, Director of Counterculture (UK) Panellists: Marc ter Brugge, Programme Officer (Arts & Culture) for Arts Collaboratory (HIVOS/DOEN/Mondriaan) (Netherlands); Christa Meindersma, Director of Prince Claus (Netherlands); Lucy Hannah, Programme Manager, Culture, for the Commonwealth Foundation (UK); Diana Campbell, Director of Creative India Foundation (India); Moira Sinclair, London Executive Director at Arts Council England (UK); Tay Tong, Director of Arts Network Asia (Singapore); Hege Aasgaard, Head of Information and Network at MIMETA (Norway); Ana Tome, Director of Residencia en RED and CCE Mexico.
Resources: A Support System for Network Practice. Chaired by: Paul Goodwin, Independent Curator (UK) Panellists: Claire Hsu, Co-founder and Executive Director of Asia Art Archive (Hong Kong); Maria Daïf, Art Moves Africa selection committee member (Morocco); Mike Troughton, CEO of Wefund (UK); Sophie Leferink, Director of The One Minutes foundation (Netherlands); Kate Fowle, Director of ICI (Independent Curators International) (US).
Not-working: Challenges to Networks Mary Ann DeVlieg, Secretary General of IETM (Belgium/Italy) Panellists: Manick Govinda, Project Manager at Artsadmin (UK); Rose Fenton, Director of Free Word (UK); Pooja Sood, Director of Khoj (India) and Triangle Regional Coordinator (South Asia); Danda Jaroljmek, Director of Kuona Trust (Kenya) and Triangle Regional Coordinator (Africa).
Kate Fowle, Mary Ann DeVlieg and Todd Lester summarise three workshop sessions held durign the conference, followed by closing remarks.