working internationally

18.03.11

Call to organisations – How will you maintain your international working? How will we hear the international artists voices?

With recent events in the Middle East and beyond, there is a greater imperative for these international voices to be heard and, in particular for the voices of the artists to have a platform.

But, the current funding cuts from public and other bodies are starting to affect organisations up and down the United Kingdom. Where will you make your cuts internally? Is it the research and training budgets? The international links and residencies that will suffer? In addition, the mechanisms in place to finance bringing international work into the country are diminishing rapidly. Our research shows that the main funding for incoming work for international artists is now from the Arts Councils and with heavy demands on this reduced funding, will this strand of work suffer disproportionately?

What we’d like to hear from you is

* Are you cutting your budgets for international working as a result of funding cuts?
* Are these cuts affecting your capacity to host residencies?
* Where will the money come from to keep this vital strand of work going?

We want to hear your views, suggestions and thoughts on what is happening – sign in and comment, and be part of the dialogue

To leave a comment please sign in

Not registered? It only takes 1 minute!

.1

Border Crossings on 10.03.11

At Border Crossings, we are working very hard to diversify our funding streams and maintain our international links. We ran a major international project last year, which was supported by Arts Council England through GFA, but which could never have got off the ground without a big grant from the EU. It's likely that European sources will become ever more important - but this, like everything else at the moment, favours the big organisations, since the bureaucracy involved is huge, and you really need a full-time accountant to manage the grant!

The current climate has had a clear effect on our next project, the 2011 Origins Festival. In 2009, we were able to produce this festival on a large scale, with big productions coming from several countries. This year we are having to concentrate on one-person shows and musicians. Even this would be tricky if we weren't working in close partnership with the City of London Festival and a number of other organisations - spreading the costs is pretty important!

www.bordercrossings.org.uk
www.originsfestival.com

.2

graham martin on 02.03.11

RE working internationally.
Having previously done a project that worked with artists from around the world www.crunchtime2010.org which was highly successful have a large base of artists overseas who are happy to work with us. Have now set up a curatorial project that works regionally and internationally AGENCY - art, life and society. Secured some arts council funding for a yorkshire video art event which will show video works by some incredible african artists.
We haven't the money to pay fees but then we're just after existing work. What we do though is to create a quality event in all aspects and market this here and internationally. Artists take part in a project if they like the way they are treated, what you are saying and you do a good job on their behalf. In this case we are also sending some small amounts of money to each as a goodwill gesture, but we will also produce a high quality eCatalogue of the event which will be sent around the world.
If its a residency this has to paid for ie fees apply. In this case we have combined with a gallery which pays a decent amount for exhibitions and the result is that a european based african artist is coming to yorkshire to make a specific piece of work for his exhibition.
As everyone knows its a case of thinking things through and devising innovative projects and working methods. After these projects we'll review methods and probably create projects where we're not relying on generosity of artists so much as with the video event. The issue though is obtaining funds for events with a number of artists in it. With one or two artists its easier but then one is excluding all sorts of people. One also has to get a balance between UK artists and overseas artists. For me its do whats exciting and create project structures that aid good work and doesn't cost artists.