The shortlist for the sixth Artes Mundi Prize was announced today (12 December 2013) by Karen MacKinnon, Artes Mundi’s new Director & Curator. It includes outstanding artists from eight countries: Carlos Bunga (Portugal), Karen Mirza and Brad Butler (UK), Omer Fast (Israel), Theaster Gates (USA), Sanja Iveković (Croatia), Ragnar Kjartansson (Iceland), Sharon Lockhart (USA), Renata Lucas (Brazil), Renzo Martens and the Institute for Human Activities (The Netherlands).
Two invited selectors, Adam Budak, an independent curator currently based in Washington and Sabine Schaschl, Director and Curator of Museum Haus Konstruktiv, Zurich, reviewed 800 nominations from 70 countries before choosing the shortlist. They particularly looked for artists whose work explores and comments on the human condition and lived experience.
This year’s shortlist is a diverse selection of international artists spanning different generations and cultures. It includes some of the pioneers of current contemporary art practice on the world stage, and the opportunity to showcase their work in this major exhibition is a huge cultural coup for Wales.
The Artes Mundi 6 Exhibition will celebrate and interrogate the shortlisted artists’ exploration of shared global themes. Artists Renata Lucas, Carlos Bunga and Theaster Gates all delve into the fiercely contested arena of urban space, exposing the politics of social control that define every one of us. The everyday urban environment that we all take for granted is revealed as a battleground for our minds, hearts, wallets and obedience. Through a broad range of media and personal engagement their work points to the forces fighting over the individual and the possible strategies allowing individuals to gain a measure of control over their own lives. Sanja Iveković, Omer Fast and Renzo Martens continue this thread but more specifically address media representation and manipulation, examining the virtual spaces we inhabit within our own minds and the shared cultural sphere.
Many of the artists on the shortlist work in collaboration with individuals and communities. For example Sharon Lockhart’s poetic films and photographs involve working closely, over a long period of time, with groups and individuals from the unrepresented and unseen sections of society. The work of Karen Mirza and Brad Butler questions what we mean by these notions of collaboration and participation. Their practice includes film, performance, curating and publishing. Ragnar Kjartansson’s work also involves collaboration, often with musicians, in performance and installations through which he explores themes of friendship, human emotions, love and beauty. All these artists use a wide range of media, actions and strategies to comment on what it means to be human in contemporary society.
Karen MacKinnon, Artes Mundi’s Director and Curator, said:
“The selectors for Artes Mundi 6 have chosen an astonishing group of artists from an extensive, worldwide list of nominations. I very much look forward to working with them, and to creating an exhibition next October that will give local and international audiences the opportunity to engage with some of today’s most exciting international artists. There will be artists from different cultures and generations and an amazing array of artistic practices. Their work will form an exhibition that will be challenging, playful, moving and, above all, will emphasise the importance of art that challenges our perspectives and enriches our lives.
“Artes Mundi 6 promises to be a major cultural event in Cardiff, a vibrant and exciting experience of performance, music, site-specific installations, film, lectures and seminars based in the National Museum, Chapter Arts Centre and Ffotogallery, spilling out onto the streets of the capital and beyond.”
Adam Budak, one of the selectors, commented:
“Artes Mundi offers a unique opportunity to acknowledge artists who are engaged in a transformation of contemporary society by considering the urgent issues the world is concerned with and by using a language which speaks for both the individual on a subjective level and the community on a social platform. Focussed on site specificity and the topicality of interests, Artes Mundi’s artists bridge the gap between art and life, thus emphasising the role of art as an integral part of the human condition and humanity’s creative capital.”
Sabine Schaschl added:
“Artes Mundi is really important not only for its fabulous nominations and its exhibition of great artists, but also because it encourages the selected artists to develop site specific work bridging their working practice with the particular social and cultural environment and framework of Cardiff.”
A major exhibition of works by the shortlisted artists at Wales’s National Museum of Art in Cardiff will underline the scope of the Artes Mundi Prize. The 17-week exhibition, from 25 October 2014 to February 2015, will occupy almost 800 square metres of contemporary galleries at the Museum and extend to Chapter, Cardiff and Ffotogallery, Turner House, Penarth.
As well as the Artes Mundi 6 Exhibition and Prize, an extended programme of exhibitions and events will also include collaboration between Artes Mundi and Mostyn, resulting, in 2014, in a major exhibition by Adam Broomberg & Oliver Chanarin at Mostyn in Llandudno.
For further information and images, please contact:
Carl Grainger, Deputy Director, Artes Mundi
029 2055 5300
Lleucu Cooke, Communications Officer, Amgueddfa Genedlaethol Caerdydd – National Museum Cardiff
029 2057 3175
We welcome press and media interest in the run up to the exhibition opening in October or the award ceremony in January 2015. If you are interested in preparing a feature we would be delighted to help facilitate your visit and interviews with the Director or individual artists and to provide any specific images you may need. Please contact Carl Grainger (details above).
Notes to Editors:
The Artes Mundi 6 Exhibition will be presented for 17 weeks at the National Museum of Art, Chapter and Ffotogallery ,Cardiff from 25 October 2014. The Artes Mundi 6 Prize will be awarded on the 22nd January 2015.
Shortlisted artists’ biographies:
Medium: installation, sculpture, painting, performance, video and drawing
Country of Origin: Portugal. Lives and works in Barcelona, Spain.
Originally trained as a painter, Portuguese artist Carlos Bunga has been experimenting with the crossover between painting and sculpture for more than a decade. Creating large, site-specific installations Bunga’s work touches on issues relating to demographics, immigration, socio-economic disparity, and the fragility of contemporary city life.
Bunga creates architecturally-scaled installations, made from mass-produced materials such as cardboard, packing tape and household paint. These maquettes resemble temporary shelters or surreal colourful urban interiors which are in dialogue with the surrounding architecture of the gallery, reconfiguring it somewhere between a decaying space and a construction site.
Working across installation, sculpture, painting, performance, video and drawing Bunga’s practice involves a highly developed degree of aesthetic care and delicacy, and a conceptual complexity derived from the interrelationship between doing and undoing, transience and permanence, unmaking and remaking.
Medium: Video installations
Country of Origin: Israel. Lives and works in Berlin, Germany
Omer Fast creates layered film installations that examine modes of storytelling and reconstruct the past. Taking key historic and contemporary events as his subject matter he explores the ways in which a memory is recounted, narratives are retold and events represented. His dramatized films, characterised by high production values, manipulate recorded image and speech and employ the discrepancy between the two as a space to blur the distinction between reality and representation, truth and fiction.
Composed of footage Fast recorded while interviewing US soldiers freshly returned from Iraq, The Casting examines the relationship between images and storytelling to pose the question: ‘where do we seek truth?’ Doubt is immediately cast over any claim one might make of the work. Its war images (it is worth noting that not once is Iraq mentioned in the script) is in reality shot with an American cast in the Mojave desert, while, at the onset of the interview, Fast begins by asking: ‘so how do you feel about improvising?’ The artist embeds the interview within a context similar to a screen test, encouraging us to question whether what we hear is a true or fictional. We are forced to ask: ‘are these real or made up memories?’, as we are confronted by performative and creative modes of retelling the past.
Fast’s work has often dealt with the fallacies of language, in particular the disjunction between image and text, intentions and utterances, and the ambiguities of communication and storytelling. In Her Face Was Covered (Part I) and (Part II), the transcript is rendered as a series of text slides, interwoven with images found through Google searches generated by typing in a single line from the script and selecting one of the resulting images. The randomness of this kind of logic builds a picture of the treacherous nature of language and its vast and unruly potential.
Medium: sculpture, installation, performance and urban interventions
Country of Origin: USA. Lives and works in Chicago, USA.
Theaster Gates’ practice includes sculpture, installation, performance and urban interventions that aim to bridge the gap between art and life. He works as an artist, curator, urbanist and facilitator, and his projects attempt to instigate the creation of cultural communities by acting as catalysts for social engagement that leads to political and spatial change. Gates has described his working method as “critique through collaboration” – often with architects, researchers and performers – to create works that stretch the idea of what we usually understand as visual-based practices.
Some recent examples include: Milwaukee Art Museum 2010 where Gates invited a gospel choir into the galleries to sing songs adapted from inscriptions on pots by the famous 19th century slave and potter ‘Dave Drake’; the Whitney Biennial, 2010 when the Sculpture Court was transformed with an architectural installation functioning as communal gathering space for performances, social engagement, and contemplation. Recently at Seattle Art Museum, the gallery became an audio archive entitled ‘The Listening Room’, incorporating DJ booth and DJ who played selections from the, now closed, Dr Wax record store in Chicago, formerly an influential hub for 60s, 70s and 80s music, in particular jazz, blues and R&B.
Trained as both sculptor and urban planner, his works are rooted in social responsibility and underpinned by a deep belief system. His installations and sculptures mostly incorporate found materials, often from the neighbourhoods where he is engaged, and have historical and iconic significance, such as “In Event of a Race Riot” (2011 onward) in which lengths of decommissioned fire hoses are carefully folded, rolled or stacked and emphatically presented inside gilt box frames. The hoses have iconic significance in relation to the civil rights struggles, in particular with regard to the hosing of peaceful demonstrators in Birmingham, Alabama in 1963. The frames act as a device for transformation but also ask us to think again about the ongoing struggle for civil rights. Other sculptures derive from the stage set for performances, such as the series of shoe-shine sculptures.
Gates ongoing real estate development, ‘The Dorchester Project’ 2006, began with the purchase of an abandoned building on 69th and Dorchester Avenue on Chicago’s South Side. In collaboration with a team of architects and designers the artist proceeded to gut and refurbish those buildings using various kinds of found materials. The buildings have become a hub for cultural activity, housing a book and record library and becoming a venue for dinners (choreographed occasions entitled ‘Plate Convergences’), concerts and performances. Gates describes this project as “real-estate art”, part of a “circular ecological system”. Building renovations are financed entirely by the sale of artworks, created from the materials salvaged from their interiors.
Medium: photography, performance, video, installations and actions in the public domain
Country of Origin: Croatia. Lives and works in Zagreb, Croatia
Over the last four decades, Croatian artist Sanja Iveković has developed a pioneering practice that tackles issues of female identity, the politics of power, consumerism and the paradoxes inherent in society’s collective memory.
A feminist, activist, and video pioneer, Iveković’s early work became a part of the generation known as the Nova Umjetnička Praksa (New Art Practice), producing cross-cultural works that range from conceptual photomontages to video and performance. In the 1970’s Iveković worked alongside a generation of artists in Yugoslavia who questioned the role of art in society. They strove to democratise artistic space by breaking away from mainstream institutional settings and galleries and started to use performances and cheap, accessible materials. Living and working in a turbulent political context for many years brought forward questions regarding social structures, gender politics and identity.
Iveković explores the intersections and commonalities across local conditions and global shifts. The artist focuses on the individual through the media, as well as the continued invisibility and erasure of women from the public sphere and from dominant historical narratives. Her works explore the effects of power and political agendas on public space, irrespective of regime. In the late eighties she was a founder and a member of a number of women’s non-government organizations in Croatia such as Elektra- Women’s Art Centre, The Centre for Women’s Studies, B.a.B.e and the Women’s Human Rights group.
Medium: video installations, film, music, theatre, durational performances, drawing and painting
Country of Origin: Iceland. Lives and works in Reykjavik, Iceland.
Kjartansson draws on the entire arc of art in his performative practice. The histories of film, music, theatre, visual culture and literature find their way into his video installations, durational performances (sometimes lasting hours or weeks), drawing and painting. Pretending and staging become key tools in the artist’s attempt to convey sincere emotion and offer a genuine experience to the audience. Kjartansson’s playful work is full of unique moments: the dramatic and the banal come into conflict in a memorable way.
Kjartansson’s work has been exhibited widely. Recent solo exhibitions have been held at the Migros Museum für Gegenwartskunst in Zurich, the Fondazione Sandretto Re Rebaudengo in Turin, Frankfurter Kunstverein, and the BAWAG Contemporary in Vienna. Song, his first American solo museum show, was organized by the Carnegie Museum of Art in 2011 and has since travelled to the Museum of Contemporary Art in North Miami and the Institute of Contemporary Art in Boston. Kjartansson was the recipient of Performa’s 2011 Malcolm McLaren Award for his performance of Bliss, a twelve-hour live loop of the final aria of Mozart’s The Marriage of Figaro and in 2009 he became the youngest artist to represent Iceland at the Venice Biennale’s International Art Exhibition.
He has participated in a number of exhibitions and festivals including ‘Manifesta’ and ‘La triennale di Torino; the Carnegie Museum of Art in Pittsburgh, the Museum of Contemporary Art (North Miami), ICA Boston and the Frankfurter Kunstverein which presented his first retrospective in Europe. In 2013 he was invited again to the Venice Biennale and, for the entire duration of the show, he put on a captivating musical performance in the aquatic spaces of the Arsenale.
Medium: photography, film
Country of Origin: USA. Lives and works in Los Angeles, USA.
Sharon Lockhart works with individuals and groups to make still and moving images that are both visually compelling and socially engaged. Her collaborations sometimes span years, working closely with her subjects to understand aspects of their lives. The resulting films and photographs embody a shared creative experience. The exhibition also becomes a collaboration and an opportunity to think about the representational devices used to frame and engage her subjects and the viewer.
In both Lunch Break (2008) and Double Tide (2009) Lockhart immerses herself in the lives of workers. Lunch Break describes a specific time and place – Maine’s Bath Iron Works at the start of the 21st century. Double Tide is more timeless, documenting the work of a female clam digger working a rare “double tide”— a day when both low tides occur in daylight hours, at dawn and dusk. In each case, the subject is framed by the work place. However in Double Tide labour is connected to nature, light, and atmosphere, and Jen Casad the compelling female figure stands in contrast to the men and the rigid structure of their workplace that defines Lunch Break.
Lockhart continues the theme of strong female figures: Sharon Lockhart | Noa Eshkol (2011), is a collaboration with a group of dancers who worked with Noa Eshkol (1924–2007), an Israeli movement theorist, dance composer, teacher, and artist. In her current project with young people her collaborator is Milena, now 15, whom she met while filming Podworka in Lodz, Poland, in 2009. Podworka consisted of 6 scenes of children playing in the city’s ubiquitous courtyards. Milena’s brother figured prominently in one of the scenes and this is how they became friends. This led Lockhart to research the history of Poland’s orphanages and state homes, where she encountered the work of Polish-Jewish educator Janus Korczak, a noted children’s author and paediatrician who articulated a philosophy that championed the “rights of the child,” their autonomy, individuality, and above all their own voice. For Lockhart, research is crucial forming the basis of an organic process, which she shares with her subjects to develop the work.
Medium: Architectural Intervention
Country of Origin: Brazil. Lives and works in Brazil.
Renata Lucas is best known for her work in which she considers public or architectural spaces and alters or changes them in some way. By altering, tampering and playing with these spaces she reveals through her work the ways in which we as individuals are controlled both physically and psychologically by the built environment around us. By intervening in some way in these spaces she reveals the possibility for different social structures, less rigid, more playful, where the individual has a voice in creating the environment and social structure in which they live.
Using basic building materials (plywood, bricks, concrete), Renata Lucas manipulates urban spaces and architecture to intensify the tension between inside and outside, public and private, past and present. Lucas’ practice is a critical interpretation of how our built environment determines actions, behaviour and social relationships and, by extension, society’s dependency on the preservation of prescribed definitions of space, property and order. In her work Lucas imagines a space where these barriers break down, where the possibility of deconstructing these boundaries, through even as simple a symbolic gesture as tearing down a wall, might result in a different social dynamic. By offering an alternative spatial imagination, one that brings into consideration malleability, manipulation and play, Lucas provokes the possibility of new subjective and collective engagement within our built environment.
Renzo Martens and the Institute for Human Activities
Medium: video installation
Country of Origin: The Netherlands. Lives and works in Brussels and Kinshasa, Democratic Republic of Congo.
Dutch artist Renzo Martens lives and works in Brussels and Kinshasa and is known for his satirical and disturbing video documentaries in which he travels to war-torn countries and places himself narcissistically at the centre of the action, demonstrating how Western spectators consume distant trauma. In 2012, Martens helped found the Institute for Human Activities and initiated its five-year Gentrification Program. By means of strategic inversion Martens comments on the ways in which Western media depict the non-Western world.
In his first film ‘Episode 1’ the artist infiltrates, alone and with a small amateur camera, the Chechen borders, where he visits refugee camps, UN headquarters and the bombed city of Grozny. As Western audience we are accustomed to view these images of war and conflict in daily news broadcasts and TV programs. However, in contrast to our expectations, Martens is not so much interested in the people’s sorrow, rather in himself and his personal love story. Instead of asking the refugee’s how they are feeling, he asks them: ‘what do you think of me?’ And: ‘do you think I am free?’
In ‘Episode 3’ Martens travels to the ruined Congo, interviewing photographers, plantation owners and locals; he acts the role of journalist, colonist, modern day missionary and development aid worker. His film focuses on one observation: poverty is Africa’s biggest export product, and, as with other natural resources of the Congo, it is exploited by the West through media. Lecturing locals assertively on ideas of poverty as commodity, he encourages them to sell their own photographs of starvation and death, not let Western photojournalists profit from their humanitarian disaster.
Karen Mirza and Brad Butler
Medium: filmmaking, drawing, installation, photography, performance, publishing and curating
Country of Origin: Both born in UK. Live and work in London, UK.
Mirza and Butler have worked together since 1998, developing a layered practice which consists of film, installation, performance, publishing and curating. Their work challenges terms such as participation, collaboration and the traditional roles of the artist as producer and the audience as recipient.
Since 2009 Mirza and Butler have been developing a body of work entitled The Museum of Non Participation. The term “non participation” is a device for questioning and challenging current conditions of political involvement and resistance. The Museum of Non Participation embeds its institutional critique in its very title, yet it releases itself from being an actual museum. Instead it travels as a place, a slogan, a banner, a performance, a newspaper, a film, an intervention, an occupation: situations that enable this museum to “act.”
In 2004, Mirza and Butler formed no.w.here, an artist-run organization that combines film production with critical dialogue about contemporary image making. It supports the production of artist works, runs workshops and critical discussions and actively curates performances, screenings, residencies, publications, events and exhibitions.
Adam Budak is an independent curator and writer, currently based in Washington D.C. Until recently he was curator of contemporary art at the Hirshhorn Museum and Sculpture Garden of the Smithsonian Institution. Between 2003 and 2010 he was the Curator at Kunsthaus Graz (Universalmuseum Joanneum) in Graz, Austria. Budak has curated a large number of monographic and thematic exhibitions in various international art institutions and worked with artists of all generations, including Louise Bourgeois, John Baldessari, Cerith Wyn Evans, Tatiana Trouve, Monika Sonsowska, Antje Majewski and Libia Castro/Olafur Olafsson. Budak co-curated Manifesta 7 (2008), The Polish Pavilion of Venice Architecture Biennial (2004), two editions of Prague Biennial (2003, 2005), 3rd Trienala Ladina (2010), and most recently the Estonian Pavilion of the 55th Venice Art Biennial with the work of Denes Farkas. Budak has also edited a two volume anthology of texts “What is architecture?” and has contributed with critical essays to several publications produced by major arts institutions, including Serralves Foundation Museum and The Galerie Nationale du Jeu de Paume. He is currently working on a monographic exhibition of Sharon Lockhart for Ujazdowski Castle Centre for Contemporary Art in Warsaw which will then be developed further and presented next Spring in Bonniers Konsthall, in Stockholm.
Sabine Schaschl is the Director and Curator of Museum Haus Konstruktiv, Zurich and also a writer and editor of scientific publications and catalogues. From 2001-2013 she was Director and Curator of Kunsthaus Baselland in Muttenz/Basel, where she realised (maybe substitute realized with “brought together”) thematic exhibitions including ‘On the metaphor of growth, Cooling Out: On the paradox of feminism’ and ‘Golden Ager & Silver Surfers: on age and aging in contemporary art’ as well as solo exhibitions of international artists such as Adrián Villar Rojas, Omer Fast, Javier Téllez, Keren Cytter, Sophie Thorsen, Laurent Grasso, Martin Walde and Werner Reiterer. She was the Austrian curator of the 2nd Biennale in Cetinje/Montenegro and freelance curator of numerous exhibitions including the Young Swiss Art in Alcalà 31, Madrid. Schaschl is member of several committees and juries, and is Art Advisor at bm:ukk. In 2010 Schaschl was the Chevalier de l’Ordre des Arts et des Lettres of the French Republic and in 2007 she received the Swiss Federal Prize of Art and Mediation during the Swiss Art Awards:. Schaschl is also a writer and editor for several publications and catalogues.
About Artes Mundi
Artes Mundi is an international arts organisation based in Wales. Established in 2002, Artes Mundi is committed to supporting groundbreaking, international, contemporary, visual artists whose work engages with social reality and lived experience. Every two years, working closely with artists, galleries, art institutions, curators and the British Council, Artes Mundi seeks nominations of artists who engage with social reality, lived experience and the human condition and who have, or are developing, an international career. Two independent selectors review these nominations and select between five and seven artists for the biennial exhibition and prize.
The 17 week exhibition, which takes place at the National Museum of Art and other sites in Cardiff, features a body of work from each of the shortlisted artists. A separate panel of five judges awards the Artes Mundi Prize which is the UK’s largest cash prizes in the visual arts. A new partnership with Mostyn Gallery will also see one of the shortlisted artists present a solo show during the year after the exhibition.
The first five Artes Mundi Exhibitions have been a popular success with diverse local and international audiences. Public and curatorial events and education programmes are offered in Wales during each biennial and further touring and commissioning strands are being developed. We also work extensively with young people, developing the audience of the future by encouraging engagement with the exhibition and a programme of outreach and learning projects.
In 2012 the Artes Mundi 5 Prize was awarded to Teresa Margolles. Previous winners were Yael Bartana (2010), N S Harsha (2008), Eija-Liisa Ahtila (2006) and Xu Bing (2004).
Artes Mundi is publicly funded by the Arts Council of Wales and by Cardiff City Council. Other funders include The Colwinston Charitable Trust, The Myristica Trust and the Waterloo Foundation.
Karen MacKinnnon was appointed Director & Curator of Artes Mundi in 2013. As an international curator based in Wales, MacKinnon has worked with influential arts organisations for the past sixteen years, including Glynn Vivian Art Gallery in Swansea and Chapter Arts Centre, Cardiff. In 2005 she was appointed as Curator for the Venice Biennale. During the length of her career, MacKinnon has organised both contemporary and historical exhibitions and has developed a particular interest in site specific and socially engaged practice. She has curated solo exhibitions and projects with several artists, including: Orlan, Tim Davies, Bedwyr Williams, Shimabuku, Sue Williams, Nick Crowe and Juneau Projects and has worked with many artists including Mark Wallinger, Phil Collins, Richard Billingham and Laura Ford. Group exhbitons include Somewhere Else – Wales at the Venice Biennale which included the work of Peter Finnemore, Laura Ford, Paul Granjon and a residency with Bedwyr Williams. In 2008 she co-curated with Maria Clara Bernal Displaced: contemporary art from Colombia which showed the work of 15 artists such as Oscar Munoz, Jose Alejandro Restrepo and Maria Elvira Escalon. Other curated exhibitions include Shimabuku’s Swansea Jack Memorial Swimming Competition, Rut Blees’ Luxembourg Folly. In 2013 she curated a number of off-site projects including Lets see what happens… an exhibition of the work of 7 artists from Wales and China across 5 sites in Swansea.
National Museum of Art
In 2011 the National Museum of Art for Wales was launched, extending over the whole first floor of National Museum Cardiff, to house Wales’s national art collections, which include the world-renowned Impressionist collection with works by Monet, Cézanne, Manet, Renoir, Van Gogh and Rodin.
The creation of the National Museum of Art involved five years of development, as the existing galleries were completely refurbished; other galleries, were transformed into stunning new spaces, offering over 40% more space to display modern and contemporary art.
Visitors can enjoy established favourites such as the renowned Impressionist collections, often referred to as among the best in Europe, alongside cutting-edge contemporary art. Entrance to all the galleries is free thanks to support from the Welsh Government. Fine and applied art are combined in the themed galleries and applied art is further showcased in the redesigned Welsh Ceramics Gallery. All the new displays, as well being stunning in their own right, work together to explore the distinctive story of Welsh art as well its relationship with art elsewhere in the world.
The Gallery at Chapter is an international art space that commissions, produces and presents contemporary visual and live art projects within a dynamic multi-artform venue in Cardiff, UK. It offers an ambitious, challenging and wide-ranging programme of exhibitions, residencies, off-site projects and events by established Welsh and international artists.
Further information can be found at www.chapter.org or on Twitter & Facebook using /chaptergallery
Chapter, Market Road, Cardiff CF5 1QE, Wales, UK. Tel +44 (0)29 2031 1050, email@example.com
Established in 1978, Ffotogallery is the national development agency for photography and lens-based media in Wales. Ffotogallery seeks to widen its impact and influence through touring exhibitions, collaborations with other organisations and galleries, print and online publishing and an extensive education and outreach programme.
Further information can be found at www.ffotogallery.org or on Twitter and Facebook using @ffotogallery or /ffotogallery