A couple of years ago I was selected to take part in a British Council ‘International Young Curator Programme’. As part of the programme I worked in the Northern Ireland Gallery at the Venice Biennale. Myself and a few other emerging artists and curators decided we should make the most of our time in Venice and set up Parallax. envisaged as an arts collective, we wanted to create a platform to showcase and make new work in the exciting and dramatic setting that was Venice. We had no money, and at first the British Council was hesitant at the idea of us hosting events in their gallery spaces, but after a little persuasion and a pooling of resources we held our first event. From pop up exhibitions to art crawls and pecha kucha nights we experimented with different formats and events. Quickly Parallax started to be noticed and our events drew a mix of emerging and established international artists, curators and commercial dealers.
We saw Parallax as a temporary collective that would lead to future collaborations after our time in Venice. However we are delighted that the format we developed has proved to be so successful that a second group of staff at this years Biennale have breathed new life in to it. You can see more information about Parallax 2011 on their blog and Facebook page. I am proud to have been a founding member of Parallax and really hope that it continues to grow into a significant fringe presence for emerging artists and curators at the Venice Biennale.
Handing over Parallax to a new set of artists and curators, and witnessing their approach to what we started has been an interesting lesson in creating an open source format. Parallax was never about ownership, it was instead about empowerment, skill sharing and professional development. It’s open source nature has facilitated a dynamic platform were innovative ideas can be exchanged and tested.
Parallax clearly demonstrates what artists can achieve outside of traditional bureaucratic arts organisations and funding structures. It has left me wondering what lessons we can take from this model that could catalyst innovation within traditional funding structures.
A focus on collaboration, networking and seed funding could be really beneficial. Small pots of money, that require short bursts of activity could provide much more innovative artistic output than traditional funded projects. Indeed it would be interesting to see arts councils looking at how the digital sector is funded and it’s emphasis on supporting start up’s, innovation, and the acceptance of project pivot. Art is a creative journey, and artists cannot know what the outcome will be before they start on their journey. I’m not saying throw money at every artist out there, I’m simply saying that perhaps Parallax demonstrates the benefits of fluid and intense working, something that traditional funding structures do not support.