CPR 2017: Mexico
February // Ciudad de México, Guadalajara and Oaxaca
Production Processes, from the Urban to the Rural

Over the course of the program, curators will investigate divergent forms of cultural production currently developing across Mexico. The facilitated research will take curators to institutions in Mexico City, the established center of contemporary art in Mexico, and regional sites of cultural transformation and experimentation in Guadalajara and Oaxaca. Mexico City, and its most influential institutions like Colección JUMEX and the MACO Art Fair, has long been internationally recognized as the locus of contemporary art in Mexico; now, regional actors are emerging across Mexico, developing in dialogue with Mexico City while also firmly rooting themselves as autonomous sites of production. One of these centers is the city of Guadalajara, the capital of the Northern State of Jalisco, known for traditional arts and colonial architecture. In recent years, Guadalajara has seen the emergence of a thriving contemporary art scene, supported by institutions like Arena México and Taller Mexicano de Gobelinos and drawing international audiences. Bi-national galleries, like Travesia 4, based in Guadalajara and Madrid, bypass Mexico City altogether. In Oaxaca, the decentralization of cultural spaces is generating experimental forms of artistic development.  The geographic isolation reflects a philosophical separation from the vortex of production in urban centers, providing an artistic retreat with a focus on collaboration and social commitment through art.
CPR: Mexico 2017 is an exploration of concurrent modes of production in sites across Mexico, from frenzied urban centers to intentionally remote retreats, giving curators-in-residence access to the artists, institutions, and publics that feed Mexico’s growing reputation as an international center of contemporary art.

CPR 2016: Eastern Europe
September // Prague, Warsaw, and Kiev
Building Capitals, Finding Capital: Developing Projects across Prague, Warsaw, and Kiev

Participating Curators: Melissa Aguilar (Colombia), Rosanna del Solar (Peru), Susanne Ewerlöf (Sweden), Joseph Gergel (US/Nigeria), Emma Hazen (US), Pedro Portellano (Spain/Germany), Mariana Rodríguez Iglesias (Argentina), and Alessandra Troncone (Italy).

CPR 2016: Eastern Europe. Building Capitals, Finding Capital: Developing Projects across Prague, Warsaw, and Kiev, CPR’s third fully-funded research program, took place from September 5-21. Partners for CPR 2016: Eastern Europe included the Center for Contemporary Arts; Prague, Izolyatsia, Kiev; and AIR Laboratory at the CCA Ujazdowski Castle in Warsaw. 

In a globalized art world, artists must continuously reinvent their practices while also acknowledging available resources and the structures that make them accessible. With CPR’s 2016 Eastern European program, we hope to rigorously examine this landscape of funding for the arts in three cities: Kiev, Warsaw and Prague. The cities themselves share historical and economic connections, as well as a Soviet past that inflects their contemporary experience of governance and capitalism. Each city is the capital of its respective nation, and as such each is a vital cultural player in the construction of a new paradigm joining the post-Soviet experience with an integrated and complex European project. Despite these connections, each city has dealt with extremely different circumstances through its development. From questions of industrial privatization to censorship, national concerns affect and influence the resources devoted to the arts, as well as the character and motivations of those who support the arts.
CPR’s 2016 Eastern European program seeks to equip curatorial residents with a unique form of knowledge about the participating cities. Where do artists look for funding? How diverse is support? How do limited resources connect or isolate art practitioners? Who makes art possible, and why? Equipped with answers to these questions rather than a more traditional familiarity with the artists and the art worlds of each of these cities, the curatorial residents will investigate the range of connections inherent to funding structures and patron networks. By visualizing an art world positioned around resources, residents will have the opportunity to identify advantages and disadvantages of the systems. Additionally, the project seeks to ask what benefits are inferred in patron’s support. In essence, the question becomes less about who buys art, and more about what does art buy?
Clemens Poole 

Kiev offers a diverse and vibrant art scene—if you know where to look. With a scattered assortment of galleries ranging from official state enterprises to informal project and event spaces, the city boasts many formats for engaging Ukrainian contemporary art. As the nation experiences pivotal political and economic changes, funding for the arts has become increasingly limited. Artists and art institutions have nevertheless found inventive ways to activate the city. In addition to established spaces for exhibition, initiatives of the Kiev art scene often appear where least expected, creating an environment of fascinatingly rich and changing expressions.

Warsaw art scene is defined by art public art institutions and relatively young and very dynamic private galleries. This combination makes it a very vivid and interesting place where all the time new initiatives emerge, some of them to stay some to disappear or merge in something different. The city has three major art institutions focused on contemporary art, Warsaw central position is also set also by the Art Academy and many artists’ studios. Art market is not very strong locally that is why most of the commercial galleries focus on international curators, most of them moved to Warsaw from different Polish cities. However recently one could observe a new phenomenon – awave of anew independent art spaces, often artists’ run and self-funded. The change is slow but significant. Such projects were still lacking in the local art world which was relaying either on the institutional support or the art market. It is also important from the perspective of recent political situation, with the conservative government that contemporary artist will find independent places for exhibition and alternative models of creations. Not only of projects that may be politically charged but also of the works which are very experimental, ephemeral and non-collectible.

The Foundation and Center for Contemporary Art’s (est. 1992) ranks among the longest operating independent art centers in the Czech Republic. It has created a unique position on the local cultural scene, notably through: the traditional grant program that supports independent artistsґ projects and institutions, the organization of exhibitions (Jeleni Gallery focusing mainly on young emerging artists, projects in public space), education and documentation (the biggest database of the Czech contemporary art Artlist.cz and library) and the international residential program for curators, artists and art theoreticians. The FCCA’s activities extend beyond the Czech Republic. In the past its partnership with institutions such as P.S.1, ISCP, Res Artis and Art in General means that the FCCA has played a fundamental role in the formation and development of Czech contemporary visual art scene. 


CPR 2016: South America
May // Bogotá, Medellín, Santiago de Chile and Buenos Aires
We are (not) one. Artists, Curators, Institutions and Diversity in Latin America

Participating Curators: iLiana Fokianaki (Greece), Rose Jepkorir Kiptum (Kenya), Karina Kottová (Czech Republic), Robert Leckie (UK), Gean Moreno (USA), Pablo José Ramírez de León (Guatemala), Fatos Üstek (Turkey), Nikita Yingqian Cai (China).

CPR 2016: South America / We are (not) one. Artists, Curators, Institutions and Diversity in Latin America, was organized in collaboration with El Museo de Arte Moderno de Medellín (MAMM), arteBA Fundación in Buenos Aires, Centro de Documentación de Artes Visuales (CeDoc) and Fundación Artes Visuales Asociados in Santiago de Chile. CPR 2016: South America gave curators-in-residence a street-level introduction to the multifaceted trajectories occurring in Latin American artistic practice, production, and dissemination today, from institutions driving the recent transformation of the cultural scene in Medellín, to artists and curators generating alternative modes of collaboration in the absence of institutions in Buenos Aires.

CPR 2016: South America was possible thanks to the support and collaboration of the following institutions and individuals: Secretaría de Integración Federal y Cooperación Internacional, Ministerio de Cultura de la República Argentina; Ministerio de Cultura de Colombia;  arteBA Fundación, Buenos Aires; Arts and Theatre Institute, Prague; Carne, Bogotá; Centro de Documentación de Artes Visuales (CeDoc), Santiago de Chile; Centro Nave, Santiago de Chile; Fundación Artes Visuales Asociados (FAVA), Santiago de Chile; Fundación Iberoamericana de Finlandia, Buenos Aires; Instituto de Visión, Bogotá; Museo de Arte Moderno de Medellín; Sokoloff + Associates LLC, New York; and Paul Birke, Luis Felipe Cordero, and Patricia Ready. 



CPR 2015: Eastern & Northern Europe
October // Tallinn, Estonia & Helsinki, Finland

Participating Curators: Chang Qu (China), Dorota Michalska (Poland), Emily Butler (UK), Nerea Ubieto (Spain), Jonathan Lahey Dronsfield (UK), Kevser Guler (Turkey), Lia Zaaloff (United States), Nico Anklam (Germany), Niekolaas Johannes Lekkerkerk (Netherlands), and Tainá Azeredo (Brazil). 

The art scene in Tallinn and Tartu is mostly represented by exhibits in non-profit spaces. With only one commercial gallery with international visibility, the current market is in the midst of a transition since the post-Soviet years up until capitalism, which conditions Estonia’s entry into the European Union. The training of artists and organizations is mostly related to the work carried out by the Estonian Contemporary Art Development Center, directed by Karin Laansoo and Kadri Laas, as an incubator for ideas of the local community.
Activities in Tallinn included visits to the following artist studios: Jaanus Samma, who represented Estonia at the 56th Venice Biennial, Tanja Muravskaja, Marge Monko, Krista Mölder, Jaan Toomik, Tönis Saadoja, Marko Mäetamm, Kristi Kongi, Timo Toots, Flo Kaserau, Mihkel Ilus, Paul Kuimet, Liina Siib and Anu Vahtra. The event also featured discussions with local personalities such as Mart Kalm, rector of the Estonian Academy of Arts, Gregor Taul, director of the Kondas Art Center of Viljandi, Anders Härm director of the EKKM (Contemporary Art Museum Estonia), Kristel Raesaar the artistic director of Tallinn Photomonth, Kati Ilves and Eha Komissarov, curators of the KUMU Art Museum, Taaniel Raudsepp, director of the Tallinn Art Hall and curator Anneli Porri. 

In recent years, the Finnish contemporary art scene has gone through a profound renovation, with new initiatives and projects for the future: the Helsinki Art Museum (HAM) is on its way to be reopened after a complete renovation, Amos Anderson Art Museum is fully dedicated to planning its new building located in the heart of the city, and the Solomon R. Guggenheim Foundation is developing the Guggenheim Helsinki. At the same time, artist initiatives and non-profit art spaces are becoming active players to modernize the artistic arena and its structures. Apart from focusing on artistic practices, CPR curators studied the different systems of financial support offered by the country, such as salaries and subsidies allocated for artistic practices and exhibitions.
In Helsinki, guided by Aura Seikkula and Anna Virtanen, activities began with a presentation of the HIAP residency program and a tour around the island of Suomenlinna, a UNESCO World Heritage site. Curators visited local spaces and institutions such as SIC, Contemporary Art Space, Sorbus Galleria, Alkovi Galleria, the Finnish Society of Bio Art, Mustarinda artistic organization and Bio-research project, HAM (Helsinki Art Museum), and EMMA (Espoo Museum of Modern Art). They also visited local artist studios, the most relevant of which were Jukka Lehtinen, Minna Långström, Eero Yli-Vakkuri, and Jenna Sutela.