The small-scale exhibitions that we see all over European cities represent the majority of the overall exhibition production. And, of course, there is a reason and logic behind the decision to organize any type of exhibition. However, it is the small-scale ones that showcase art production that often goes under the radar of large cultural institutions, galleries, and museums. Their role is affirmative and encouraging, and they serve as a filter for the broader art scene. Through the process of researching and preparing these types of exhibitions, certain artists and collectives become established and appreciated within the art world. Therefore, each small-scale exhibition might not be significant on its own – though it might be – but it is certainly a vital element contributing to the broader grassroots process that brings to light important developments in the visual art world.
Small-scale exhibitions largely depend on three factors: the aim of the producer, the audience, and the budget. In the case of the Bucharest–Sofia–Belgrade Street Art (BSBSA) project, each partner has their own selection process, but we all must consider these three factors. So, let us start with the first one – our common goal. All three partners – Feeder (RO), Mnogo Deinosti (BG), and Street Art Belgrade (RS) – share the same goal: to present the contemporary production of the street art scenes in the partner countries.
The main goal of the project is to connect the street art scenes of Romania, Bulgaria, and Serbia through the exchange of artists, as well as through workshops and exhibitions. With the exhibitions, we aim to present a clear picture of the significant trends in the street art scenes represented by the project’s partners. At least that goal is clear, and it serves as a valuable guideline for all exhibitions within the project. But how does one adequately represent an entire scene with hundreds of actors who contribute to it? One thing is for certain, in real time and space, it is not possible to present all of them.
The painstaking process of selection begins with understanding what is not possible and what is absolutely necessary. Somewhere in between, you find the answers. Another important aspect of the selection is choosing the medium you will focus on. Since our main production, as a project, takes place in public space, we also need to consider the smaller-scale artifacts that artists create specifically for exhibition contexts. Whether you choose to present canvases, graphics, digital prints, photos, or objects and sculptures depends largely on the availability of materials.
For example, if you decide to present only artworks on canvas, and one of the partners cannot provide high-quality works in that medium, it will impact both the curatorial process and the overall gallery presentation. This also influences the choice of venue, as not all gallery spaces are suitable for displaying sculptures, for instance. The seemingly easiest solution is to include all media types and arrange them haphazardly. However, if you want your exhibition to offer a clear and coherent overview of a given street art scene, that approach is not effective.
If you aim to present a particular street art scene using 20 works in different media, the exhibition space can easily end up looking more like storage than a curated display. At this point, it’s crucial to return to the basics and remember the story you want to tell.
Another important factor is the availability of specific artists and their works. If an artist is preparing for a retrospective exhibition at the same time as your own, and all of their significant canvases are committed elsewhere, how can you still represent their work meaningfully? You simply have to come up with a creative solution.
When you decide to do a collaborative exhibition, you must be prepared to work closely with your partners. In this process, just like in life, choosing your partners wisely is essential. Everything depends on that decision. Your partners will likely face the same selection challenges as you, which means you have to take into account the availability of artworks in other countries, transportation logistics, delays, and curatorial decisions made by others. And you have to trust that their selections align with your checklist even if you don’t personally agree with all of them.
The second significant factor is the audience. If we do not meet the needs and expectations of our audience, why do we even bother? But the measure of a great exhibition lies somewhere between the vision and curatorial process of the selector and the satisfaction of the audience. There’s no point in always offering the same things, even if they are very popular. You have a responsibility as a curator to provide content that is relevant to the time and place. Sometimes the audience might not like it, but you still have to present it. These kinds of exhibitions often become milestones of significant art movements in art history.
And yet, in this digital age, you still have to motivate your audience enough to make them leave their homes, choose to attend a cultural event, and among hundreds of other options – select your exhibition. A tall order. We’re proud to say that our Romanian partner managed to do exactly that with their exhibition last year.
The budget might seem like the biggest obstacle to overcome, but in funded projects, it is what it is. You estimated what you’d need years in advance, and that doesn’t change just because you came up with a better idea after the project was accepted. In that sense, the only way to manage is to distribute your exhibition budget rationally and appropriately. Which brings us back to the first and second factors: keep your budget in mind when proposing your exhibition idea to partners, and don’t promise your audience what you can’t deliver. Budget considerations are essential when it comes to exhibition space, especially since it often needs to be rented. You may have had a particular space in mind when writing your budget proposal, but what if that perfect venue closes, and you need to find a new one while your selection process is already underway? Small, independent, and cool venues close all the time and new ones appear. So you always need to stay alert and resourceful to help yourself when the time for exhibition production comes.
Sometimes, you really want to include a particular artist, but they don’t have a new series ready, so you might have to invest in production costs. In our opinion, that’s the best possible investment, but it doesn’t always work out the way you planned. Again, you have to go with the flow and trust that the artist and their work are worth it. In such cases, prints and photos are often good alternatives but they can’t always capture the beauty of the original artwork.
If you decide to include sculptures or objects, either independently or as part of a multimedia approach, you’ll have to work extra hard to present them in their full glory. We believe these objects often bring an added layer of understanding, and we support their inclusion wholeheartedly but you need to know how to handle them properly.
The budget must also cover transportation of the artworks from other partner countries and their insurance. This may not be a major factor within the EU, but if you’re collaborating with non-EU or overseas countries, it’s something that absolutely needs to be factored in.
If we reflect on collaborative small-scale exhibitions after this discussion, brief as it may be, it becomes clear that every single one of them is a work of art in its own right. A great deal of thought, coordination, effort, collaboration, exchange, and discussion happens long before the artworks even arrive in the gallery. And if the exhibition is successful, everything makes sense and falls into place.
Follow the project activities on instagram, facebook or youtube
The Small Scale Cooperation Creative Europe project 101131802 – BSBSA is co-funded by the Creative Europe programme of the European Union, under the Call for proposals CREA-CULT-2023-COOP.
The project consortium partners are Udruzenje Gradjana Kruna from Republic of Serbia, Mnogo Deinosti Enterprice from Bulgaria, and project coordinator is Save or Cancel production SRL from Romania.
This text reflects the views only of the author(s), and the European Commission cannot be held responsible for any use which may be made of the information contained therein.