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--- partners [2021/04/26 07:33]
jim
+++ partners [2021/08/31 12:34] (current)
jim
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 __Public institutions__
-A wide range of different public institutions might get involved in an art game show: museums, funding programs, universities, government agencies. While in some contexts, public institutions can maintain a certain level of autonomy from governments and political agendas, in many cases they do not. At the same time, public institutions are probably the dream partner: they are well organized, effective, and they offer good visibility and a certain amount of prestige. More than often, public institutions will provide you with a venue for your exhibition, and therefore will act as the main partner of your curatorial project (See: [[venues|VENUES]]).
+A wide range of different public institutions might get involved in an art game show: museums, funding programs, universities, & government agencies. While in some contexts, public institutions can maintain a certain level of autonomy from governments and political agendas, in many cases they do not. At the same time, public institutions are probably the dream partner: they are well organized, effective, and they offer good visibility and a certain amount of prestige. More than often, public institutions will provide you with a venue for your exhibition, and therefore will act as the main partner of your curatorial project (See: [[venues|VENUES]]).
 __Private foundations__
@@ Line 37: / Line 37: @@
 __Editors and studios__
-If you want to exhibit commercial games you might need permission and access to archives (See: [[permissions|PERMISSIONS]]). In certain cases, creators or companies can be directly involved in the curation of an art show (example: Ubisoft in the 2019 “Behind the game” exhibition at la Gaîté Lyrique, Paris [[https://gaite-lyrique.net/en/event/behind-the-game]]). Some would argue that this practice is more akin to marketing than actual curating. Keep in mind that if you want to cooperate with actors of the industry, they will essentially be concerned about PR, and can be reluctant to embrace critical and innovative approaches.
+If you want to exhibit commercial games you might need permission and access to archives (See: [[permissions|PERMISSIONS]]). In certain cases, creators or companies can be directly involved in the curation of an art show (example: Ubisoft in the 2019 “Behind the game” exhibition at la Gaîté Lyrique, Paris [[https://gaite-lyrique.net/en/event/behind-the-game]]). Some would argue that this practice is more akin to marketing than actual curating. Keep in mind that if you want to cooperate with companies, they will essentially be concerned about PR, and can be reluctant to embrace critical and innovative approaches.
 __Manufacturers__
-Exhibiting video games involves the use of game consoles, VR headsets, screens and other expensive tools. Sometimes it is possible to arrange a loan from the manufacturer. Some curators are trying to avoid such partnerships by prioritizing cheaper, more accessible, and open-source tools.
+Exhibiting video games involves the use of game consoles, VR headsets, screens and other expensive tools. They can be of great help when working on a tight budget. Sometimes it is possible to arrange a loan from the manufacturer. Some curators are trying to avoid such partnerships by prioritizing cheaper, more accessible, and open-source tools.
+__Universities__
+They could be great allies when it comes to content, communication and even equipment. They also can work as validation for first-time events. You can find really interesting work being done by students, some universities also have their own game-labs or art collectives and are looking for places where to show their works. They can also be good partners for organizing workshops or talks.
+__Embassies and International Cultural Institutions__
+They can be great allies when it comes to working with international developers and artists. They can cover fees for speakers, commission works, and even fund flights and accommodation. This kind of arrangement is always accompanied by contracts and some demands on the funding institution, they might ask for registered documentation once the event is finished (be sure to keep track of video recordings, amount of people attending and any additional info that could serve them), they could also ask for additional activities from the artist/developer/speaker. Be aware that this negotiation usually have to be done with a lot of time in advance, each embassy and cultural institution has its own schedule, also they might pay you once the event is finished, so you have to make sure to be able to cover the costs in advance.
 **How to find partners**
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 ==== Editors for this section: ====
-Jim Munroe
+Jim Munroe, Luján Oulton

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