Florence Biennale

[Pamela]

Hi, I just got an invitation to be in the Florence Biennale. I never heard of this one. I checked it out on the internet and it looks fantastic.

My problem is that they ask for a registration fee which amounts to about $2000 US dollars. Such a high fee makes me leery, but maybe this is derigeur for Biennale's. I don't know. What about the Venice Biennale. In the contract it states that registrants may get the registration fee back. "The registration fee, could be totally or partially cancelled, in case of a partial or total contribution of each Cultural Department to the Biennale general expenses. All the particular terms and conditions fixed by each Cultural Department, will be considered by the Organizing Body, in order to decide the exact amount of the help for each artist." I'm not sure what that means.

The artist doesn't have to attend. (I would.) Included are free tickets to all events--music, concerts, etc for one week, inaugural buffet, exhibition space, catalog, etc.

Is anyone familiar with this event?

Pamela

[mariam]

Dear Pamela,

I am also invited to participate, but the only thing that worries me is the registration fee. I can't afford such amount. I asked the organizers for some discounts, but here is what they answered:

"We sent to many Cultural Departments all over the world the information about the Biennale, including the request for sponsoring the artists of their country, if these entities answer positively we will inform the artists and they will apply. Artists though, can search for help in their countries and we will be more then glad to help them with any documentation and information that could be requested by a Cultural Agency, so we suggest to the artists to look for themselves for the sponsor we will help them as far as we can. If you send us the address of some Entity we will immediately send the documents to them."

I hope I've answered all your questions.

What you think about finding some funds to participate?

[Randy]

I wish I could be more specific, but I know that I have seen a specific grant that is only for artists representing their countries in international exhibitions.

Try the Insider section of <www.sculpture.org>

I'll keep my eyes peeled out.
Randy

[mariam]

Dear Randy,

Thanks for information, but i could not find such announcement on www.sculpture.org.
However, I remember that I have read something like that in the previous announcements, but unfortunately they support only US resident artists to participate in international exhibitions and what about international artists? Do you know any institutions that provide assistance to international artists to participate in international exhibitions, symposiums and other events?

[Helenium]

It sounds like they went through the ISC Portfolio section to find artists, because I got one of these packages from Florence out of the blue, too. I posted a question in another forum here on sculpture.net just this morning asking what people thought of it, and Randy told me this discussion was already ongoing.

I e-mailed one of the American jurors, a curator at a contemporary art center, and he said these people are for real and not scam artists. He also forwarded my e-mail to an American art historian who helps organize it, who defended the fee, said it's typical in Europe, and sent me about 5 attachments of press stuff to help demonstrate it's legit. So even if it is legit in the sense that they will actually hold an exhibition and at least some people will come to it, my question is, is it helpful? Especially, is it $4,000 or $5,000 worth of helpful, since with all the shipping, insurance, travel, and that $2,000 fee, I think it could wind up being that much?

As for the grant you are thinking of Randy, I think it's probably Arts International Exchange, but those are only for curators and organizers who want to send US art to biennials and festivals overseas, NOT for individual artists. They make that clear -- I checked yesterday.

I may do a little more digging and if I have anything useful to report, I'll post it here or in the general area, where I made my other post about this.

--Helen

[Pamela]

Thanks for the responses! I've been reviewing lots of info and am leaning toward going. I'll decide by Monday I think. One thing is I do both wall pieces and free standing sculptures and I don't know which ones they liked. I never know which ones to submit. Also some of my best wall pieces are at the gallery that represents me in Miami Beach. How do I deal with that?? Now that I'm thinking about going, I getting anxious about what to send and all the packing problems. One sculpture I sent to Miami broke on the way--the head came off. Obviously my weld was lousy (I work in welded steel.) but...I don't want that to happen to the stuff I send to Italy.

I hope more people respond to this thread.

Here's a link to a discussion forum on the 2001 Biennale, some comments are negative some positive. One towards the end is from a juror and is very positive.

http://home.gci.net/~donaldricker/frnznytf.htm

Phelan Meek
http://www.phelanmeek.com

[RuBert]

I also was invited to participate and have been following this thread closely

Also, I have looked up a several artists that actually attended the Florence Biennale and am trying to email some of them to see if we can get feedback from people that have been there.

I hope someone who has attended this Biennale in the past will post some more information about the event or give insight about it to sculptors trying to decide to go or not.

[Pamela]

Russ, check out the link in my last post. I will also email you copies of the information that Helen (post on other forum) sent me. Also, if you go to http://www.artestudio.net you'll see the official website which is very impressive. My husband who is an art historian and who was very skeptical because of the fee read all the information and knew of some of the jurors and scientific committee and decided that it is, indeed, very prestigious.

Pamela aka Phelan Meek

[RuBert]

Pamela, thank you so much for emailing me the information that you and Helen have come across about the Biennale. It is very helpful and interesting.

I have also had two responses to my email inquires of people that have actually participated.

I am a painter, I did participate in the Biennale, and found it was a wonderful excuse for a trip to Italy. I was able to meet some interesting people there, but I felt the work was very uneven. As to whether or not I would recommend it to other artists, yes, if you need to build your resume, or want to travel and meet some other artists. No, if you think it is going to truly further your career, and have a major impact. It was very expensive, and not truly run like other biennales because the artist had to cover all costs.


and a more favororable review:

I was one of the artists who had the opportunities to exhibit my paintings at the Biennale at Fortezza Da Basso, Florence, Italy twice.

I went to Italy in 1999 to see my paintings exhibited with the other artwork there and sent paintings over in 2001. I am working on to get the money to join the 2003 Biennale Internazionale Dell Arte Contemporanea for my third honorary exhibition there.

I think that the invitations were highly selective. It is an honor to be invited to exhibit. It is true that is expensive for registration and transportation fees, but, it is a very professional international contemporary art exhibition in the world.

Only artist could make the decision.

Best Wishes and Good Luck!
Sincerely,
Gabrielle Wu Lee

[donar05]

RuBert, Pamela, Mirriam & others concerned ---

Congratulations on your invitation from the Comitato to participate in the fourth Florence Biennale, which is a recognition of your talent and commitment. Only 1000 persons are invited to each Biennale, although the invitation extends through three such events, and perhaps 600 find the means to participate.

I am one such, whose page has been referenced above, and I participated in 1999 and 2001. RuBert has asked me to visit your discussion group and add my perspective.

First of all, for more about funding the natural way, through the Artists Abroad program of the state department administered by ArtsInternational.org --- they will not help you because you are an artist and they are curators. To gain some perspective on this situation view this page: http://home.gci.net/~donaldricker/frzfacie.htm which was posted a few years ago but the situation has changed only in the sense that the members of FACIE at least know about the Florence Biennale, since I dogged them at length continuously.

Curious about the look and feel of the show? Visit http://www.florencebiennale.com to see my photographs of a small portion of the art and some of the artists as well as images of Florence and the Fortezza da Basso.

Choose Florence from the index at my site exegy.com and you will find statements by the directors and lists of artists awarded medallions by the jury, etc.

[Pamela]

Don, thanks for the info. I noticed on your website that you do sculpture and wall pieces. How did you decide what to send?

Phelan Meek
http://www.phelanmeek.com

[donar05]

> how to decide

pamela ---

2001, I took one painting the size of a pool table, Seven Sisters, because I knew it said it all. The distinguished international jurors made the list of honorees more prestigious by not mentioning my name in connection.

1999, I took two paintings, exceeding the space allotted in their requirements. Resolved to leaving one in the crate, I was relieved by the director & founder who proclaimed that where there was a wall there should be art on it. Portrait Battle and Judgement of Paris earned me the recognition of a Medici medallion in painting.

Your question regarding wall hangings versus floor or plinth based work. Walls are temporary and somewhat precarious; if work is heavy floor mounted work might be more securely displayed. Ideally one's spot would include at least some of the area in front of a wall so that enterprising artists have made installations out of their spaces.

For those who wrote me regarding not being able to see the images at the photo link I reluctantly concur that I could not see them either when I used Netscape as a browser. Shrug. I have issued an urgent proclamation to my programmers about rectifying this problem. Meanwhile, http://www.microsoft.com/ie

Also, thanks for your kind remarks about my site.

[Weatherall]

accuart (http://www.accuart.net)


I recently received an invitation to the Florence Biennale and have read the numerous post to date. I still have questions concerning its legitimacy. Does anyone have any additional information concerning the show or personal testimony that would qualify such a large expenditure?

Thanks for the help,

Curtis Weatherall

[Helenium]

Curtis Weatherall writes:

>Does anyone have any additional information concerning the show or >personal testimony that would qualify such a large expenditure?

That is exactly the question. I've satisfied myself that it's a bona fide show, that if you pay your 1800 euros your work will actually be hung on a wall in Florence for 8 days. And if you go, you probably have a good time socializing. But do you sell? Do you make contacts that actually advance your career? I am still not convinced.

For what it's worth, I spoke to a contemporary art dealer and experienced collector who is on the board of a small museum and asked him what he thought. Here's what said he thought would be a better investment of $2,000: find a well-regarded non-profit gallery or college art gallery interested in giving me a show. Offer to cover the costs of printing a full-color announcement/brochure with an essay by someone who can write well, and reproductions of my work. Print plenty of extras to keep on hand after the show, and send those brochures along with my slides to galleries and museums I was interested in pursuing. If funds permit, buy an advertisement in an art magazine, or in the local magazine read by people who follow style and culture (around here it would be "Baltimore Magazine" or "Style"; most major cities have their equivalents).

By the way, sure does sound as if the Florence Biennale organizers went through the Portfolio section of the ISC web site, doesn't it?

--Helen

[RuBert]

By the way, sure does sound as if the Florence Biennale organizers went through the Portfolio section of the ISC web site, doesn't it?


It would be a good resource for an International show, although I'd be surprised if invitations went out to everyone in portfolio. I understood you had to be nominated, and juried in, but I'm not really sure what the process is.

It does seem that artists in countries other than the US have the government or an arts organization pay for the honor and then play it up in the press much more than here.

Of course it is a different event, but I thought it was interesting in a separate thread that Javier Tellez in Venezuela turned down the offer for the Venice Biennale as a political statement in his own country. See: Venezuelan Venice Bienale Resignation Letter (http://www.sculpture.net/community/showthread.php?s=&threadid=64)

[Pamela]

Hi Russ,

I've been thinking a lot about whether or not to participate in the Florence exhibition based upon the information I've come across. Here are some of my thoughts.

First, one artist from the U.S. is selected to go to the Venice Biennale and the U.S. govt pays for them. The Florence Biennale was set up, it seems, to compete with the Venice one. The head of the Florence venue (who is very highly regarded) feels that the art selected for Venice is passe. He wants the Florence one to show new/current trends in contemporary art. A scientific committee is selected to scout around the world for artists to fit that bill. The members of the scientific committee are very highly regarded as well. (My husband who is an art historian was initially skeptical but when he saw the list of players said "There's no question but that you're doing this!") The scientific committee members get paid a small fee for their work but feel its a very worthwhile endeavor both for themselves and for the artists. Florence gives this exhibition some million dollars but its not enough to cover everything. The place that they rent is gigantic. Most countries foot the bill for artists selected from their country. The U.S. does not. Maybe the U.S. will in the future. The Florence Biennale is relatively new. 2003 will be the 4th one.

My conclusion about the show is that it is a very presigious event. I intend to ask my local jurisdiction for funding and offer them a video documentary/slide presentation the Biennale. I also intend to ask my local congressperson for assistance because I donated a great deal of my time and effort on a large scale project after which she said "If you ever need anything, call me." I'm sure each of us has chips we can cash in. Regardless I intend to go whether I get funding or not primarily because my husband who hardly trusts that the sun is going to come up is so for it. That means a lot to me. I intend to gets lots of publicity from it, contacts, sales, etc.

But, we each have to make our own decision. I still want to hear any pros and cons.

Phelan Meek
http://www.phelanmeek.com

[RuBert]

You are right, absolutely my mistake to link the two. I realize that I linked to the Venice Biennale in my my enthusiasm for making connections throughout the forum, but it is really a completely seperate event so it is hard to compare the two. Sorry, and thank you for correcting me so quickly.

I didn't get much sleep last night, and am getting ready to travel out of the country for a few days. I appreciate all the activity on the forum and will try to check in if I can find a connection.

[donar05]

>a better investment of $2,000

Wow, where to start. First of all Javier Tellez resigned from the Venice Biennale, held in a whole different town and open during the summer months http://www.theartnewspaper.com/news/article.asp?idart=10924 that has held exhibitions every two years since 1895. This show is curator driven; no artist need trouble themselves about choosing among their own work, and their idea of modern painting is a retrospective from the years when they featured painting. Yet each artist must concern themselves with the pursuit of funds to enable their participation. In the US, one artist is supported with one or two curators and funded often in excess of a quarter of a million dollars.

In Florence, home of the Medici family and its wonderful commitment to the arts during the Renaissance still celebrated today at such places as the Uffizzi Museum and where students of art come from around the world to learn to work in a style that includes subject matter, the Biennale dell'Arte Contemporanea is preparing its fourth exposition since 1997 for 10 days in December 2003. This show features artists invited by a prestigious committee of art scholars and critics, and of the fewer than 1000 invited typically 600 or so find the means to participate. From 65 countries around the world, talented and acknowledged artists present their best work as they choose. Often, these artists must turn for support to their patrons and governments, which have been generous. In 2003, nearly 130 artists will represent America, with 0 curators.

Apologies to those artists who also act as curators occasionally. You are a sainted separate case.

The distinguished art confrere who postulated a more local expenditure of $2000 has a point which will have to be ceded eventually. If that program, which is a proper one, appeals to you then it could well benefit you greatly. It is a choice open to any artist with $2000.

Not just ANY artist gains the approval of the comitato and the invitation to the FBIV, and not every one of them can shoulder the burden (more like $5000) or find help for that. For those who do, their participation affirms their self confidence and contributes to a unique 'Olympics of the Arts' made prestigious by medallions awarded by an impeccably qualified and multi-national group of art experts.

If the figure $1800 seems too strong, consider that the EU takes a 20% VAT off the top, then the Italian government levies 40% of the remainder leaving artestudio with $800 per artist to work with. Exhibiting internationally is up on step; you will definitely want to use lots of money for the promotional material you mention, but as for the write-up and the catalog I believe you will find satisfaction being included in the beautifully finished book that the Florence Biennale publishes with each show. Participants find that their local press treats their participation as newsworthy. Ferrari (the sports car manufacturer) and Trenitalia (the Italian train company) will help out with the advertising.

[Randy]

Everybody. . .

Marialuisa is a fine sculptor from the Verona area. I met her through John Henry at an ISC gathering in San Francisco last fall. I emailed her about Pamela's initial question. She has been in New York for a month, so she is just now getting back to me.
She says "she has never heard of the Florence Bienale and that it is probably not very important in Italy."

Just another comment to take or leave.

Randy

[RuBert]

Hello Sculpture Community,

I have been very impressed with the dialogue occurring in the Sculpture Community. I want first to take this opportunity to thank Russ RuBert for making the ISC's electronic two way communicating network a reality. Until this point I have been observing and enjoying the discourse from a distance, but now I wanted to come forward and provide some important information that may affect many ISC members and sculptors worldwide.

We have received numerous inquires regarding the Biennale Internationale Dell'Arte Contemporanea in Florence, Italy. A number of sculptors have been invited to participate in this Biennale and they have informed us that the "ISC" was credited as being the reason they were invited. The good part of this is that it appears that our website www.sculpture.org is being used to find high quality artists for this international project.

In our efforts to verify information about the program, we learned that the abbreviation "ISC" does not refer to the International Sculpture Center. It turns out that the name of the sponsoring organization, International Scientific Committee, has the same abbreviation as the ISC! Thus, it may appear that the Biennale Internationale Dell'Arte Contemporanea is sponsored by the International Sculpture Center. I want it to be clear that this exhibition is in no way associated with or endorsed by
us.

We advise all artists to review requirements before making a large investment of time or money regarding the Biennale Internationale Dell'Arte Contemporanea. If you would like more information, please contact the organizer, John Spike at jtspike@bigfoot.com

Also, we encourage you to post any personal experience you have had with this or other invitational exhibitions on the Sculpture Community.

Thank you everyone for your participation.

Regards,

Jeff Nathanson
President/Executive Director

International Sculpture Center
Publisher of Sculpture Magazine
14 Fairgrounds Rd., Suite B
Hamilton, NJ 08619-3447
Phone 609-689-1051 x108
Fax 609-689-1061
www.sculpture.org

[PatWarner]

I received two invitations to participate in the Florence Biennale. My gut reaction is that I would not go near that offer with a ten foot pole! They must have invited a lot of ISC members to participate.

[Helenium]

I did a bit more digging about the Florence Biennale. A former participant is mailing me a write-up of his experiences he's prepared in response to inquiries he's received. In the meantime, here's a discussion from another list that should give everyone pause:

http://artscuttlebutt.com/phpBB200/viewtopic.php?t=99&highlight=florence+biennial

--Helen

[Helenium]

Got the information from the participant in 2001 that I mentioned in the previous post.

To summarize his comments in my own words, he enjoyed the trip to Florence and socializing with artists from around the world. People who have never heard of the Florence Biennial are generally impressed with the credential and he has gotten some mileage from that. He liked and respected John Spike, but had nothing good to say about Artestudio, which seems to be the real organizer of the event.

The minuses were that the show itself was poorly organized; it took place in a convention center basement; it received nowhere near the attendance the organizers claim; it was ignored by the press, even in Florence itself, and wasn't even advertised in the tourist brochures at the hotels; almost nobody sold work; the participants were nickeled-and-dimed for extras above and beyond the entry fee, such as a table to put brochures on and tickets to special events like the closing dinner. In addition, there were some tacky aspects, e.g. an "exhibit" of offset reproductions of Prince Charles watercolors!

The information he provided seemed very credible to me because he is not at all bitter and even said all in all, he has no regrets. But the basic message was definitely: proceed with caution.

[stonehelix]

Thank you all for the research on the Florence Biennale.
I had received an invitation and was very interested in all the info shared.

New to the community.
Scanned down the topics. Found answers.
Next time hope to provide information to others.