To create an artist-run place where the exhibition program is not only determined by the network of the artists that run it.
To create a place that is able to support the momentum of a curatorial idea.
To create a professionally run exhibition space that stands out in terms of size. _ Number of organizers/responsible persons of the project. Daily management: 4
Advisory board: 11
How are programs funded?
Grants from Danish Arts Foundation
Who is responsible for the programming?
The advisory board.
Number and average duration of exhibitions/events per year.
There are 12 exhibitions and 12 events each year. In our 185m2 unusual exhibition space, we feature exhibitions of 3-4 weeks length as well as shorter events.
What kind of events are usually organized?
Talks, performances, screenings, sound installations
How is your programming determined?
New Shelter Plan distinguishes itself from other artist run exhibition spaces by the constellation of an advisory board that conducts the selection process. We are application based and have an open call four times a year. The advisory board selects three exhibitions from each open call. In addition, the founders of New Shelter Plan will curate one to two exhibitions per year.
Do you accept proposals/submissions?
Yes. Artists and curators are encouraged to apply for an exhibition period by sending in a proposal not yet exhibited in Denmark. Artist talks, book launches and other short-term initiatives will be hosted in the gallery as well.
What is your artistic/curatorial approach?
Our advisory board is looking for proposals that
– sets a new agenda
– are site-specific and relates to the exhibition space
– we assess would have difficulties finding another hosting opportunity
– shows up-coming artists
– show established artists going in a new direction
– has not previously been shown in Denmark
What idea are you most excited about for the future?
For New Shelter Plan to take new forms and change into something different and even better.
Over the next several months we are engaging the legacy of institutional critique, ongoing institutional and organizational experiments, and Gerald Raunig’s notion of ‘instituent practices’ understood as artistic and curatorial practices that “invent new forms of instituting.” Question include: How do artists and independent projects challenge, comply with, and sometimes imitate traditional institutional forms? Further, how should (self-initiated) organizations consider their own operational mechanisms in order to responsibly address the social, political and cultural fabric in which they operate?