Given its position as perhaps the world’s most highly respected visual arts festival, one would be hard pressed to find a curator who would hesitate on the question of being involved in a presentation for the Venice Biennale. Particularly in light of the fact that 2003 marks the biennale’s 50th anniversary. And even more so, one would suspect, if that presentation marks the first time that the highlighted country – as in the case with Wales – is represented at the event.
Understandably, then, Patricia Fleming, curator for Wales at the Venice Biennale, is ecstatic. The closest Fleming comes to hesitation is an acknowledgement that, yes, the secret will soon be out: the imminent international exposure which will be provided for Wales by the biennale will ensure that the country emerges with a changed artistic landscape.
‘I’m grounded in the Scottish art scene and I know the pressure on the artists up there,’ reflects Fleming, who is a former programmer at the Centre for Contemporary Art in Glasgow. ‘Artists [in Wales] are just getting on with their work… and the space and energy in their work is reflective of that [lack of pressure].’ In regard to the international exposure expected soon to hit the country, Fleming says: ‘It’s a bit like finding an unspoiled beach… After you find it, you don’t want to tell anybody.’
But the world is soon to be told, in no uncertain terms, that Welsh artists can play ‘hard’ on the main stage, and take their share of a spotlight historically reserved for their counterparts in London. The decision to allow Wales and Scotland to have their own representation at the Venice Biennale – the two countries have previously been presented under the collective banner of ‘Great Britain’ – will, according to Fleming, make great contributions to the visibility of those countries’ artists.
‘Because of the importance of “British” art and the focus placed on British art, it’s important that people actually realise that [this] is made up of art from Scotland and Wales as well,’ comments Fleming. ‘So, the separate representation of Wales and Scotland at the biennale adds value to the visitor, because it makes them aware, and obviously, it gives the artists a greater opportunity to be seen.’
Not that Welsh artists have been absent from the international art scene. But while individual artists have engaged in international activity, Fleming points out that the lack of a major contemporary art-buying scene in Wales, and the absence of opportunities for industry consolidation, has meant that much of the country’s creative activity has been overlooked by the international community.
‘There are a lot of artists doing international projects,’ remarks Fleming. ‘But they’re doing these projects specifically off their own back, through contacts that they have made on their own. Because of that, the actual information and the activity [of establishing international contacts] hasn’t been consolidated, there’s no central point of information.’
‘I don’t think you can say that international activity hasn’t been going on, I just think that the press and others haven’t known about it… There’s a different focus in Wales, and while it’s changing with some of the younger galleries, those galleries still haven’t attended the international trade fairs, and haven’t yet had the opportunities to make the international connections.’
Wales’ participation in the Venice Biennale is therefore set to make a major impact, and Fleming believes that the repercussions can already be felt.
‘The Venice Biennale is the preparation process made visible,’ she explains. ‘But obviously, all of that work is actually done here in Wales and the tentacles of that are far-reaching, with artists who are younger in their careers. I’ve met with lots of artists all over Wales and everybody’s very excited.’
Part of that excitement, notes Fleming, is derived from the expectation that the biennale will spark a change and assist Welsh artists in the development of networks which, until now, have largely been absent.
‘Wales is bursting with artists who are keen to maximise on international opportunities,’ she notes. ‘But, to date, the focus just hasn’t been here. There is now an expectation that Venice will point to Wales and potentially encourage the development of international participation and initiatives… We’re hoping that a lot of people will come out [from Wales] to the biennale… It’s in everybody’s interest to get out there to meet the contacts and establish the networks.’
At the same time, however, Fleming notes that the relative isolation of the Welsh arts scene, and the absence of the competitive edge that characterises the visual arts scenes in London and Glasgow, has also proved an asset to the country’s creative community. Fleming says that she took this into account when beginning work on the biennale show.
‘I began with an approach [to the job] that I probably would have taken anywhere,’ she explains. ‘But, on meeting all of the artists and on actually staying [in Wales], I realised that this would need to be a different type of show.’
‘Wales tends to be a very good space for artists to actually get on with work and experiment and develop ideas – artists require space and time, and there is a lot of that here. It’s also economical to work here, and the art is reflective of people having quality spaces conducive to making quality work.’
Fleming hopes that this aspect of Welsh art will strike a chord with Venice audiences.
‘I’m hoping that the show will remain open,’ she says, ‘and reflect that space and energy that comes from having time and peace and quality of life.’
Wales will be represented at the Venice Biennale by artists Paul Seawright, Cerith Wyn Evans, Simon Pope and Bethan Huws. At the event, which will take place from June 15 to November 3, 2003, Wales will have its own pavilion at the former Dreher Brewery on the island of Giudecca.
