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and visitors and possible new projects/collaborations coming out from it?

experience to do this. The 2010 fair got a fantastic response. We had exhibitor representation from 11 different countries and received over 10,000 visitors over the 4 days with some great national and international press and T.V coverage from as far as China and Russia.

Dianne Harris: The fair is an all encompassing experience. There are so many various strands to tie together, the exhibitors needs and their works, the arrangement/coordination of the spaces, the logistics of the transport, the set up / construction, the events programme of talks, presentations and performances, the catalogue, press, PR, marketing, merchandise, catering, invites, tickets, documentation, filming, photography… the list goes on. The most exhilarating moment is the entire fair coming together in just a matter of hours. The set up is 3 days with everyone working towards the opening deadline.

This year secured more art sales than last year which is very positive as the main point of the fair is to popularise artists and organisations working in these genres and to provide a new platform for the commercial enterprise of this field.

As well as 100 other jobs on my list, I also curate the Kinetica areas, this year there were 10 in all, we exhibited 11 artists and I was also involved in cocurating the Kinetic Masters feature exhibition with Jasia Reichardt (Curator of Cybernetic Serendipity ICA

Alessandra Migani: I noticed that Kinetica Art Fair perfectly highlights how, nowadays, more and more artists cross the subtle line between ‘fine art disciplines’ and ‘multidisciplinary new media’. Do you think technology is only a tool that new contemporary artists use? Or where do you see this line begins and ends?

London 1968) and John Dunbar (Director of Indica Gallery 1966) We loaned works from many private collections with works by the masters of Kinetic and Cybernetic Art from the late 1950s to early 1980s. This feature show grounded the contemporary works at the fair and put them into a historical context. It was a great

Dianne Harris: Absoutely, “technology is only a tool that new contemporary artists use”. The latest interface 11

DIGIMAG 52 - MARCH 2010  

Digimag was one of the most important international magazines focused on the impact of media technologies on art, design and contemporary cu...

DIGIMAG 52 - MARCH 2010  

Digimag was one of the most important international magazines focused on the impact of media technologies on art, design and contemporary cu...

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