Branding The World » Exhibitions

Kamen Rider Climax Heroes – Chou Hissatsu Waza Exhibitions

admin — Mon, 25 Jan 2010 17:12:48 +0000

BGM used: Lunar Clock ~ Luna Dial (Touhou Suimusou: Immaterial and Missing Power, Izayoi Sakuya Night Stage) Late video is late :V I suddenly feel unhappy on the outcome of this video. I WAS suppose to insert SWR’s Mystic Oriental Love Consultation BUT it doesn’t fit like crap so I resorted to the said BGM. If you don’t like the vid, the BGM or both then start flaming me.

Technorati Tags: Chou, Climax, Exhibitions, Heroes, Hissatsu, Kamen, Rider, Waza

Rudolf Stingel’s Biography and Exhibitions at Saatchi-gallery

admin — Fri, 22 Jan 2010 17:18:18 +0000

Rudolf Stingel was born on 1956 in Merano, Italy, currently lives and Works in New York. Stingel says it in his usual no-nonsense, dazzlingly beautiful way. For his sixth show with Cooper since 1994, Stingel — who would be among my first picks for the next Whitney Biennial — has left this temple-like space empty except for a gallery-wide floor made of white painted particleboard.

If you know Stingel’s work, you know this isn’t some clever, leave-the-gallery-empty ruse, or a matter of him toadying up to his dealer (although all artists are capable of this). In fact, this exhibition finds Stingel being as subversive and striking as he always is. In 2002, he covered the walls of this gallery in silver insulation panels and allowed people to mark them up willy-nilly. In 1997, he swathed the floor with a plush carpet and placed a large, perforated, blue foam-core screen near the entry. Before this, he published an “instruction” book that explained how to make his abstract paintings. His unforgettable 1991 New York debut consisted of a vivid orange rug in an otherwise empty gallery. It was one of the best shows of the 1990s. The painting, as proficient as any photo-realist canvas, is by Stingel. The woman is Paula Cooper. The overall effect is celebratory, revelatory, sly and adds up to one of the best shows of the season.

SOLO EXHIBITIONS

2007

• Curated by Francesco Bonami, MCA, Chicago

2006

• Inverleigh House, Edinburgh

2005

• EURAC tower, Bolzano, Italy

• Paula Cooper Gallery, New York

2004

• Sadie Coles HQ, London

• Plan B, Walker Art Center, Minneapolis; Grand Central Terminal, New York

• Galleria Massimo de Carlo, Milan

• Museum für Moderne Kunst, Frankfurt

2003

• Galerie Schmela, Dusseldorf

2002

• Georg Kargl Galerie, Vienna

• Paula Cooper Gallery New York

2001

• Museo di Arte Moderna e Contemporanea, Palazzo delle Arbere, Trento

• Stephen Friedman Gallery, London

2000

• Paula Cooper Gallery, New York

• Margo Leavin Gallery, Los Angeles

Conclusions:

Rudolf Stingel said. “Artists have always been accused of being decorative. I just went to the extreme. ” Basically, Stingel has always gone to extremes, making good-looking, self-referential paintings.

What to Do Next. . .

If you want any information about Rudolf Stingel or looking for his paintings please visit us on http://www. saatchi-gallery. co. uk/artists/rudolf_stingel. htm

View Rudolf Stingel paintings, biography, solo exhibitions, group exhibitions and resource of Rudolf Stingel artist. View art online at The Saatchi Gallery – London contemporary art gallery. Rudolf Stingel

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Justin Wong (CH) vs Javits (CH) Battlefield Arcadia #2 EXHIBITIONS

admin — Thu, 21 Jan 2010 03:11:44 +0000

Battlefield Arcadia #2 EXHIBITION matches! Check out our site! www.heartofbattle.com // Follow us on Twitter! twitter.com/heartofbattle

Technorati Tags: Arcadia, Battlefield, Exhibitions, Javits, Justin, Wong

J. Porat – Conversations with Kafka (Main Exhibitions)

admin — Wed, 20 Jan 2010 17:17:34 +0000

Prof. Nurit Govrin: Jacob Porat’s Kafka The paintings of Jacob Porat converse with Kafka on the backdrop of Kafka’s home city — Prague – in a multi-layer “correspondence”. One layer is Porat’s paintings. The second consists of photographed sites in Prague. The third includes pen drawings made by Kafka, and the fourth depicts Kafkaesque situations taken from Kafka’s works. And the fifth layer is that of the viewer, who draws near the paintings to look and reveal the worlds hidden inside, one …

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Aurel Schmidt Exhibitions and Paintings at Saatchi-gallery

admin — Wed, 20 Jan 2010 07:14:51 +0000

Aurel Schmidt was born on 1982 in Kamloops, BC, Canada. currently lives and Works in New York. He was living a really charmed life in Vancouver. The zombie drawings take a long time. Days, Months. . . I’ve never timed it Everything was perfect. he needed to make life more difficult. he wanted a challenge, to try new things, meet new people. Executed with painstaking detail, Aurel Schmidt’s Body Swallows World, pictures a fairytale landscape turned nightmare. Rendered in coloured pencil with acrylic paint highlights Schmidt’s forest allures with the organic rhythms of vivification and decay, as thousands of tiny hand drawn bugs, worms, snakes, and creepy crawlies devour the scene. Reminiscent of Durer’s The Large Turf or Arcimboldo’s composite figures, Schmidt’s drawing combines beauty and horror in its microcosmic embellishment, creating a sense of awe in its meticulous craftsmanship and allegorical subject matter.

After seeing her work on Tim Barber’s Tiny Vices I became an instant fan. After doing a little internet research and poking around in her FBI file I contacted her and conducted the following interview. I hope a gallery in the Bay Area brings her out here at some point. Because I have a feeling that her work is even more impressive in the flesh.

SOLO EXHIBITIONS

2008

• Deitch Projects, New York (forthcoming)

2007

• Body Swallows World, Peres Projects Los Angeles

GROUP EXHIBITIONS

2006

• Panic Room, Deste Foundation Centre for Contemporary Art, Athens

• 25 Bold Moves (with tinyvices), House of Campari, New York

• tinyvices, Spencer Brownstone Gallery, New York

• tinyvices, University of Wisconsin Oshkosh

• tinyvices, Studio Bee, Maison Daikanyama 2F, Tokyo

Conclusions:

Time, care and detail are the first things that come to mind when looking at Ms. Schmidt’s work. It’s as every crevice of one of her pieces is filled with something for the eye. Painstaking attention to every detail is spelled out in each of her lines.

What to Do Next. . .

If you want any information about Aurel Schmidt or looking for his paintings please visit us on http://www. saatchi-gallery. co. uk/artists/aurel_schmidt. htm

View Aurel Schmidt paintings, biography, solo exhibitions, group exhibitions and resource of Aurel Schmidt artist. View art online at The Saatchi Gallery – London contemporary art gallery. Aurel Schmidt

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Group Art Exhibitions – 5 Ways to Make Hanging Day Stress Free

admin — Wed, 20 Jan 2010 00:12:50 +0000

Being responsible for a group art exhibition can be scary. There are artists to organize, the venue to book, promotional material to distribute — the list is endless. One of the most stressful times is hanging day. This can be both chaotic and exhausting with artists dropping off artworks, paintings waiting to be hung, and price lists to organize. With some pre-planning you can make your hanging day less stressful and more fun.

Reduce stress on hanging day by getting some help, ensuring you have the right equipment, pre-marking the walls, adopting an efficient hanging method, and using artwork swing tags and price cards. 1. Get help

Well before hanging day enlist the help of several people. Give each person a different task so they can get on with the job independently. Enthusiastic helpers will allow you to coordinate the day, not left to do it all alone like a super hero.

When the day is over remember to thank your helpers by mentioning them at the opening function, sending them a thank you card, or presenting them with a Certificate of Participation. Appreciation for a job well done is important. 2. Bring the right equipment

There is nothing worse than discovering you have forgotten to bring the step ladder or hammer to hanging day. Returning home to collect the forgotten item is time consuming and stressful. Be organized by writing an equipment checklist and checking the items off before you leave. If you hang exhibitions regularly consider purchasing a tool box on wheels to help cart your equipment around.

Items to take along with you on hanging day are a step ladder, hammer, tape measure, spirit level, picture hooks and nails, pencil, box cutter, bluetac, map pins and twine. Other useful items are a screw driver, assorted screws, nails and hooks, gun stapler and staples, scissors, packing tape and a permanent marker. 3. Pre-marking the walls

Hanging artworks at the same height makes your exhibition look professional. Some people prefer the tops of the paintings to be level and some prefer all the centres to be at eye height. Whichever height you prefer you can reduce the time hanging the artworks by pre-marking the walls.

Using a tape measure and map pins, measure the required height at several different places across the wall. Connect the pins with long twine to give you a horizontal line. This line can then be used to accurately and quickly find the common hanging point. 4. Efficient Hanging Method

Climbing up and down a ladder can be frustrating and exhausting. Make life easier for yourself by getting someone to help you. One of you can be up the ladder, while the other can be passing the hooks, hammer and artworks. Not only does it take less time to hang the exhibition, but it will be more fun too.

If youâ??re using the pre-marking technique above, use a ruler to measure the distance between the hanging cord and the top of the painting. Transfer this measurement onto the wall, using the horizontal string line as your guide. 5. Swing Tags and Price Cards

Creating an accurate price list can be a nightmare, particularly at group exhibitions. Many artists change the title, price and even the artworks before the big day, and this can be frustrating to keep track of. Use swing tags and price cards instead of exhibition numbers and a price list to help reduce the stress.

Before the exhibition give every artist a swing tag. It should be hung on a cord long enough so the swing tag can hang over the top of the artwork. One side of the swing tag will have the artist details, the other will have the artwork details. Transferring the artwork details onto a price card will be easy to do now, and the completed card can be quickly adhered to the wall with bluetac.

The hanging day for a group art exhibition can be stressful and hard work. With a little bit of pre-planning, help and some basic equipment you can turn a frustrating day into a fun day!

Antonia Marino is an artist and business owner with over 15 years experience in the art industry. Her current project is ArtBiz Resources, which provides downloadable art business documents for artists, galleries and exhibitions at http://www. artbizresources. com/.

Technorati Tags: Exhibitions, Free, Group, Hanging, Stress., Ways

About German Artist Martin Kippenberger Biography and His Exhibitions at the Saatchi-gallery

admin — Tue, 19 Jan 2010 23:12:45 +0000

As one of the most prodigious artists of the 1980s and 90s, Martin Kippenberger epitomised the romantic notion of the artist in the late 20th century. Inventing himself as the centre of the art world, Martin Kippenberger’s practice was based on shameless self-promotion. Mythologizing himself as an Everyman-hero, Kippenberger’s vast body of work is a testament to a larger-than-life character, a tragic-comic paladin, plagued as much by his own talent and success as by his ego and shortcomings.

Martin Kippenberger’s Biography and Exhibitions

BIOGRAPHY

1953 Born in Dortmund, Germany

1971 Moved to Hamburg and lived in various communes

1972 Hamburg College of Art, Fine Art, BA

1978 Moved to Berlin. Became manager of the famous S. O. 36 hall venue.

1980 Moved to Paris and worked on his first novel

1983 Settled in Cologne, worked with Albert Oehlen

1997 Died in Vienna

SELECTED SOLO EXHIBITIONS

2004

Brasilien aktuell: The Magical Misery Tour Gagosian Gallery, London

2003

Das 2. Sein (The Second Being) Museum für Neue Kunst/ZKM, Karlsruhe

Multiples Kunstverein, Braunschweig

Nach Kippenberger (After Kippenberger) Museum Moderner Kunst, Stiftung Ludwig, Vienna, Van Abbemuseum, Eindhoven

2002

Dear Painter, paint me CentreGeorges Pompidou, Paris

1997

Documenta X Kassel, Germany

Der Eiermann und seine Ausleger (The Egg man and his Jib) Städtisches Museum Abteiberg, Mönchengladbach, Germany

1994

The Happy End of Franz Kafka’s America Museum Boijmans van Beuningen, Rotterdam

1993

Kunstverein Kippenberger Fridericianum, Kassel

Kandidatur für eine Retrospektive Centre Georges Pompidou, Paris Founds

MOMAS (Museum of Modern Art Syros), Greece Construction of the first subway station, Syros

1991

Put Your Eye In Your Mouth Museum of Modern Art, San Francisco

Heavy Burschi Kölnischer Kunstverein, Cologne

Tiefes Kehlchen Installation, Vienna

Martin Kippenberger always went too far. Going too far was what the German artist did, in art and in life. It was said he once bought a dilapidated petrol station in Brazil and renamed it Gas Station Martin Boormann, after the Nazi war criminal. It was also rumoured that he installed a telephone line, with the greeting “Boormann. . . Gaz” on the answerphone. He certainly had a photograph taken of the service station, which he blew up to wall size for an installation. all his work is that. He wants to really invent and with every piece to make something new and to be real avant-garde. All day long and with all of his heart he really does believe in nothing else but in art. He doesn’t define it, his father was an artist, he is an artist and his friends are artists.

view about Martin Kippenberger or looking for his paintings and his exhibitions please visit us on
. http://www. saatchi-gallery. co. uk/artists/martin_kippenberger. htm
“> Martin Kippenberger

Technorati Tags: About, Artist, Biography, Exhibitions, German, Kippenberger, Martin, Saatchigallery

Maurizio Cattelan Exhibitions and Paintings at Saatchi-gallery

admin — Tue, 19 Jan 2010 17:14:50 +0000

Maurizio Cattelan was born on 1960 in Padua, Italy. Maurizio Cattelan’s art often combines sculpture and performance. Maurizio Cattelan has a subtle sense of the paradoxes of transgression, the limits of tolerance. Since the early 1990s, his work has provoked and challenged the limits of contemporary value systems through its use of irony and humor. He teases the art world without ever falling into the naive trap of thinking he can subvert a system of which he is part.

The characters and personas inhabiting Maurizio Cattelan’s world are ghostly appearances in a personal theatre of the absurd: policemen flipped upside down, stuffed animals hanging from the ceiling, a swami who buried himself in sand

for hours at a time. . . suspended between reality and fiction, Maurizio Cattelan’s work simulates and subverts the rules of culture and society in a continuous game of detournement, acts of insubordination and symbolical theft.

Constantly exploring different materials, contexts and strategies, he refuses to take any moral or ideological position, concentrating instead on reproducing reality in all its complexities. While he does not offer solutions, he shows that one can survive and use the system without being consumed by it.

Maurizio Cattelan Jokes and pranks are common in art but what makes Maurizio Cattelan special is that his are funny. Funny peculiar and funny ha-ha. Cattelan is a knowing and sophisticated artist who teases the art world without ever falling into the naive trap of thinking he can subvert a system of which he is part. He specialises not in Dadaist aggression but in slight shifts of reality that are a bit pathetic, a bit embarrassing, a bit silly. In 1994 he persuaded his Paris dealer Emmanuel Perrotin to spend a month dressed as a giant pink phallus. Errotin Le Vrai Lapin was striking precisely because it was so ludicrous: aggressive anti-art gestures and extreme acts have long since been accommodated into commercial art dealing, but to have a dealer make a fool of himself goes some way beyond the call of duty, and of chic.

Born in Padua, Italy, in 1960, Cattelan did not attend art school but taught himself. Cattelan brought his bad taste to New York’s Museum of Modern Art when, in 1998, he arranged for an actor in an over-sized cartoon Pablo Picasso mask to meet and greet visitors. Cattelan said he was satirising the postmodern museum and its similarity to a high-cultural Disneyland. He was impressed MoMA put up with such a cruel joke against itself.

SOLO EXHIBITIONS

1999

• Kunsthalle Basel, Basel, Switzerland

1998

• Institute of Visual Arts (INOVA), Milwaukee, Wisconsin

• Project #65, The Museum of Modern Art, New York, New York

1997

• Castello di Rivoli, Turin, Italy

• Le Consortium, Dijon, France

• Wiener Secession, Vienna, Austria

• Espace Jules Verne, Centre d’Art de Bretigny-sur-Orge, France

1992

• Edizioni dell’Obbligo, Juliet, Trieste, Italy

1990

• Strategie, Galleria Neon, Bologna, Italy; Studio Oggetto, Milan, Italy; Leonardi V-Idea, Genoa, Italy

GROUP EXHIBITIONS

1995

• Photomontage, Le Consortium, Dijon, France

• Kwangju Biennial, Kwangju, Korea

• Caravanserraglio, Ex Aurum, Pescara, Italy

• Le Labyrinthe Moral, Le Consortium, Dijon, France

• La Collezione, Castello di Rivoli, Turin, Italy

1994

• Soggetto Soggetto, Castello di Rivoli, Turin, Italy

• Prima Linea, Flash Art Museum, Trevi, Italy

• L’hiver de l’amour, ARC/Musée d’Art Moderne de la Ville de Paris, Paris, France; P. S. 1/Institute for Art and Urban • Resources, Long Island City, New York

1993

• Hôtel Carlton Palace, Chambre 763, Paris, France

• Documentario, Spazio Opos, Milan, Italy

• Nachtshattengewächse, Museum Fridericianum, Kassel, Germany

• Aperto 93, Venice Biennial, Venice, Italy

1992

• Ottovolante, Museo d’Arte Contemporanea, Bergamo, Italy

• Una Domenica a Rivara, Castello di Rivara, Rivara, Italy

1991

• Loro, Castello Visconteo, Trezzo, Italy

• Anni 90, Galleria d’Arte Moderna , Bologna, Italy

• Operazione S. Giustino, Milan, Italy

• Siamo qui e stiamo facendo, Communie di Castellafiume, Italy

1990

• Existenz Maximum, Instituto degli innocenti, Florence, Italy

• Improvvisazione libera, Museo Pecci, Prato, Italy

• Ipotesi d’arte giovane, Faqbbrica del vapore, Milan, Italy

Conclusions:

Maurizio Cattelan’s art often combines sculpture and performance. Maurizio Cattelan has a subtle sense of the paradoxes of transgression, the limits of tolerance. Since the early 1990s, his work has provoked and challenged the limits of contemporary value systems through its use of irony and humor. He teases the art world without ever falling into the naive trap of thinking he can subvert a system of which he is part.

What to Do Next. . .

If you want any information about Maurizio Cattelan or looking for his paintings please visit us on http://www. saatchi-gallery. co. uk/artists/maurizio_cattelan. htm

View Maurizio Cattelan paintings, biography, solo exhibitions, group exhibitions and resource of Maurizio Cattelan artist. View art online at The Saatchi Gallery – London contemporary art gallery. Maurizio Cattelan

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How to Get the Most out of Exhibitions

admin — Tue, 19 Jan 2010 13:14:05 +0000

Exhibitions are one of the most powerful, versatile and costeffective tools available. To get the most out of them, check out our top tips on effective exhibiting, covering everything from setting objectives and designing your stand, to following up and measuring effectiveness. A strategic marketing tool – Exhibitions, like advertising, direct mail, PR and direct selling, are a strategic sales and marketing tool. They should be used as part of an overall marketing strategy, not in isolation. Consider the benefits – To make the most of your participation, you need to understand exactly what benefits exhibitions offer: Highly targeted – With their carefully focused profiles, and highly targeted audiences, exhibitions allow you to direct your sales and marketing effort accurately and cost-effectively, with minimum wastage. The buyer comes to you – Exhibition visitors are pro-active buyers. They make a conscious decision to attend, and set aside valuable time to do so. Many are specifiers and influencers who it might otherwise be impossible to identify. 3D sales & promotion – Nothing beats the impact of a live demonstration. At an exhibition, buyers can see, taste, touch and try your product for themselves. Face to face contact – The most persuasive form of selling, and of building customer relationships. Neutral sales environment – The buyer feels under no great pressure to buy, while the seller is not intimidated by visiting the buyer on his home territory. Fast market penetration – You can reach a large proportion of the market in a short space of time, achieving more in four days thankyou might otherwise achieve in months. A powerful combination – Exhibitions combine the mass reach of advertising, the targeting of direct mail, the persuasive power of face-to-face selling, and the networking benefits of the Internet, to create a unique environment in which a wide range of sales and marketing objectives can be pursued, either singly, or side by side. Prepare Some Preliminary Costings – Costs vary enormously depending on the type of presence you want to have. A shell stand/pipe and drape can cost you less than a page of trade press advertising, but you will need to spend at least the same amount again on equipping, manning and promoting the stand. Be Realistic About Your Expectations – Exhibitions generate millions of dollars worth of business every year but it is unusual for exhibitors to do so during the event. For most companies, the orders will come in the weeks and months after the show. You must be prepared to pursue your leads vigorously, and to track them on an on-going basis, so that they can trace as many sales as possible back to source. Exhibitions Require Time and Effort – Don’t underestimate the amount of planning and preparation required to exhibit successfully. Effective planning and followup can mean the difference between a bad show experience and a good one. But it can also mean the difference between a good show, and a truly exceptional one. Maximise the opportunity – Exhibitions are suitable for a wide range of specific sales and marketing goals, of which the most widely used are: Generating sales leads – Reach large numbers of buyers in just a few days, and maximise sales impact through product display and demonstration. Exhibition enquiries have an excellent conversion rate when followed up after the show. Launching a new product or service – Stands featuring new products are a major attraction for buyers and the media, the vast majority of whom attend exhibitions ‘to see what’s new’. Penetrating a new market – Exhibiting is one of the quickest and most cost-effective means of exploring and entering a new market, providing mass exposure and an instant database of qualified sales prospects. Building customer loyalty – Regular contact with customer’s shows that you care and exhibitions are an extremely time and cost-efficient means of keeping in touch. Positioning/repositioning a company/brand – Exhibitions can be used to quickly establish a new identity or change market perceptions about a company and its capabilities. Market research – Exhibitions bring together a complete crosssection of a market, making them ideal for customer research and offering instant feedback. Building media relations – Exhibitions offer a rare opportunity to meet and influence the press ‘en masse’ and to generate coverage on new products or services, and or company developments. Recruiting new agents or distributors – Agents and distributors use trade exhibitions to find new companies to represent. If you are looking for new representatives, be sure to highlight the fact in your catalogue entry, and on the stand. Obtaining competitive intelligence – Exhibitions are an excellent place to observe competitors and assess their products and marketing messages. Set clear objectives – Choose the exhibition to suit your objectives, and not the other way around. It may sound obvious, but companies have been known to book into events that can’t deliver their target audience in sufficient numbers to make their presence worthwhile. Be consistent – Exhibition objectives should be consistent with your company’s wider marketing strategies/goals. This way, advertising, PR, direct mail personal selling and exhibition activities are working to reinforce each other, rather than in isolation. Set achievable targets – Nothing is more likely to demotivate staff than goals they can’t possibly achieve, whereas realistic targets when accomplished are a real stimulus to effort. Prioritise your objectives – If you have more than one objective, rank them in order of priority so you are clear where your greatest efforts should be directed. Don’t try to do too much, or your resources will be stretched and your participation will lack focus. Communicate your objectives – Objectives, having been established must be communicated to the entire exhibition team, so that everyone pulls together and shares a common sense of purpose. Appoint an exhibition co-ordinator – Put one person in charge of the project with overall responsibility for planning, budgeting, stand management etc – someone with authority who can see the project successfully through to its conclusion. Appoint a reputable stand designer – Draw up a shortlist of suppliers and put the job out to tender. Insist on seeing a portfolio of each company’s work. Talk to previous clients and ensure they are capable of working on time and within budget. Set measurable objectives – Set achievable targets against which to measure your success. If generating sales leads, for example, base your target around your potential audience, number of stand staff and total number of opening hours. Read the manual – Read your exhibitor’s manual carefully, as soon as you receive it, paying particular attention to stand rules and regulations, and noting the deadline dates for returning order forms. Late orders and last-minute changes may incur a surcharge. Confirm your exhibits – Give your product managers plenty of warning, to ensure products are available and in a suitable condition for display. If exhibiting working equipment, remember to organise spares in case of breakdown Publicise your presence – Prepare your press release(s) and catalogue entry and submit them by the deadline date. Mail out invitations to your prospects, giving them an incentive to visit your stand. Event web sites offer many publicity opportunities – check out your options. Check out stand packages – Many organisers offer ‘stand packages’ comprising space, modular stand/pipe and drape, furniture, lighting etc for an all-in price. Promotional packages are also commonly available. They are an excellent aid to budgeting and cost control, and can save much administrative time and effort. Co-ordinate media activities – Maximise your promotional budget by coordinating your exhibition promotions with other media activities. Drop a flash on your trade adverts saying ‘see us on stand XXX’, include invitations in direct mail, and publicise your participation in customer newsletters and on your web site. Prepare a detailed budget – Anticipate all likely items of expenditure before committing money, prepare a detailed budget breakdown, keep a close eye on expenditure, and a central record of all purchase orders and invoices. Select and brief stand staff- Select staff early to ensure availability and allow adequate time for training. Draw up a duty roster and ensure all staff are fully briefed on the stand exhibits, their role, and the company’ objectives. Devise an efficient system for handling enquiries – The way you capture and qualify visitor information at show will determine the speed and efficiency with which you can follow up leads. Devise an ‘enquiry form’ for use by stand staff on which vital visitor details can be quickly recorded (e. g. products of interest, purchasing authority, date of intended purchase etc) Draw up a timetable of key tasks – Using the manual, and working backwards from the exhibition, draw up a timetable of key tasks, highlighting who is responsible, and deadline dates for completion. Copy it to all involved in the exhibition effort. Establish clear lines of communication – Breakdown of communication is a major cause of problems at exhibitions. Make it clear to your suppliers and the organiser who their points of contacts are. Hold regular briefing sessions with the team to keep everyone up to date on developments. Prepare to follow-up leads – Exhibition leads are hot leads if properly qualified. Fast and efficient follow up is essential to reap the maximum sales return. Establish a plan of action before the event, and be sure to allocate sufficient time and people to the task. All leads should be contacted within a week of the exhibition if possible, two at the most. Budgeting and cost control Plan ahead – Consider your exhibition requirements for the whole year. Modular stand systems can be adapted to suit a wide range of sites, and re-used in part or whole to suit your needs. Consider a stand package – Many organisations offer stand package options for shell scheme/pipe and drape exhibitors, inclusive of everything from furniture and floor coverings to electrics and power – an excellent way to control costs, as you are aware of your commitments up-front. Draw up a detailed budget – Look at your objectives, determine the essential tasks necessary to achieve them and then estimate the costs involved. This will give you a minimum budget on which to build. Be sure to anticipate all likely items of expenditure. Be generous when allocating funds: add 10% to all anticipated costs. Record your spending – Keep an on-going record of expenditure against budget and a central file of all purchase orders and invoices. Note reasons for overspend to help you plan more efficiently and budget more effectively next time around. Return all forms by the deadline – Late orders and last minute charges often incur a surcharge. Think ‘exhibition presence’ not ‘exhibition stand’ – Don’t make the common mistake of blowing your entire budget on stand design. Remember to allocate sufficient funds to promotion, staff training and subsistence, and post show activities such as telemarketing and direct mail, to convert leads into sales. Choose a reliable stand designer – If you are opting for a custom-build stand, choose a designer with a proven ability to work to schedule, and within budget. Contact your exhibition contractors association for a list of members. Talk to previous clients about the company’s track record. Go straight to a stand contractor – Going straight to a stand contractor is likely to be a more economical solution for exhibitors on a limited budget, particularly if you take the modular approach, as many contractors include free design consultancy as part of the overall stand package. Take advantage of free publicity – Editorial coverage is one of the best endorsements your company can achieve (assuming it’s positive!). And it’s free. Take time preparing your press pack and circulate it in good time to the exhibition’s PR agent and trade press. Sales literature costs money! – Don’t leave expensive brochures on the stand for all and sundry to pick up. Produce a concise sales leaflet for general distribution and keep the glossies back for those with a genuine interest. Keep a tight control on expenses – Establish at the outset exactly what costs the company will pick up. Give staff a ‘per day’ allowance for meals and entertainment – any expenses over and above this should be paid for by the individual and reimbursed after, if appropriate. Keep alcohol and telephones on the stand locked away at night. Choosing, designing and building your stand Review your options • Shell scheme/Pipe and drape A modular system, erected by the organisers on your behalf, comprising side and rear walls, carpet and name board. Stand fittings can be hired as required and ‘stand packages’ complete with furniture, lighting and power are often available. Ideal for first time exhibitors, those with limited budgets and/or administrative resources, and those looking to control costs. • Modular display system Available in a growing range of styles, shapes and materials, allowing a high quality presence for much less that it would cost on a custom built stand. Can be quickly erected and dismantled, reducing contractors costs on site, and are re-usable enabling costs to be spread across several events. • Custom-designed & purpose built For companies who want total freedom of expression and a truly individual exhibition presence. Expensive, because they can rarely be re-used. For this reason, ‘half-and-half solutions, – re-usable modular interiors around which are constructed ‘one-off’ exteriors are increasingly favoured for the cost savings that can be made. Determine Stand Size – Your stand size should be determined by your objectives: i. e. by the type and number of exhibits, the amount of free floor space needed for visitors (bearing in mind the number of leads you are aiming to take), the features you need to include reception desk, storage space, hospitality area etc. and, of course, by your budget. Check proposed site for service access – If you are demonstrating working machinery check the positioning of service ducts before confirming your stand site, or you may be forced to compromise on your display. Check for the presence of supporting columns, for the same reason. For large exhibits, consider the proximity of the stand for good access, and for convenient disposal of waste from working machinery demonstrations. Prepare a written design brief – This should detail your objectives, exhibits, service requirements, graphic requirements and stand facilities, and include information on design rules and regulations, critical dates and budget. Draw up a short list of suppliers – To protect your investment, and ensure good standards of service and workmanship, stick to reputable suppliers. Call your exhibition contractors association for a list of members. Insist on seeing a portfolio of their work. Talk to previous clients to make sure they are capable of delivering on time and within budget. Put the job out to tender – To get the best overall design solution and value for money, space-only stands should be put out to tender, ideally to three of four companies. For large or complex products, you may have to pay for detailed proposals. Prepare a budget and work schedule – Having appointed a designer/contractor establish, in writing, exactly what they are responsible for. Confirm the budget and get a detailed breakdown of costs. Agree a work schedule and establish clear reporting procedures. If the stand is big or complex, visit the contractor to see work in progress and be present on site during build-up, not just on the final day. Check conformity with rules and regulations – All exhibition stands must conform to certain regulations covering height, loading, fitting, building materials etc. and these will be detailed in your exhibitor manual. Designs for ‘space only’ stands must be submitted to the organisers for approval. Arrange essential services – Electricity, water, waste disposal, gas, lifting and telephone connections must be booked through the official contractor via order forms in the Exhibitor Manual. If in doubt about your requirements, talk to the contractor to ensure sufficient supply. Organise transportation, handling and storage – Ensure all packages and crates are clearly labelled with your hall and stand number, and that someone is on site when the goods are delivered. Organisers will not accept them on your behalf, and packages have a habit of going astray. Most venues will not have space for empty packaging cases – you’ll need to make arrangements with your shipping agent. Allow sufficient time for installation – The show goes on whether your stand is ready or not. Make sure that the complex stand your designer is proposing can be built in the build-up time available. Shell scheme visitors shouldn’t underestimate the amount of time it takes to install an effective display. Don’t leave it until the last minute and assume it will all look OK – it won’t. Leave your site as you found it – At the end of the event, you will be required to leave your stand space as you found it and pay for any clearance or make good any damage. The essence of good stand design Form should follow function – Before you consider what your stand will look like, you need to be clear about what you want it to DO for you. What are you going to exhibit? How many visitors are you hoping to attract? Will you require a reception desk, demonstration area, lounge area, an office? How much storage space will you need? Choose a design that fits your image – The design of your stand says a lot about your company. Think carefully about what image you want to project. Do you want to appear friendly and customer-orientated, prestigious, high tech or go getting? Brief your designer accordingly. Shell scheme exhibitors should pay careful attention to graphics. Displays cobbled together at the last minute from cheap materials do nothing for a company’s image as a professional organisation. Beware of psychological barriers – The more open a stand, the more likely people are to step aboard. Platforms can act as a psychological barrier and are best avoided. Don’t try to dictate traffic flow – Freedom of movement is fundamental to good stand design. If you try to control traffic flow around your stand too rigidly, you will expand all your energy directing visitors rather than doing business with them. Movement excites interest – A moving exhibit is much more likely to attract the eye than a static one. If your product or service cannot be demonstrated, look at other ways of creating movement for example, through the use of light, audio-visual displays or rotating signs and display plinths. Height increases visibility – The best space only stands also call attention to themselves from a distance. Height need not be expensive – a simple column or pillar with your company name on can be extremely effective. Remember, too, in some venues visitors will be looking down at you from a gallery. Use every design opportunity to attract their attention. Say what you do – Don’t assume that everyone will know what you do from your company name alone. If you’re not a household name, or it’s not immediately obvious from your display what you can offer, use graphics to spell it out. Promote benefits, not features – Exhibits should be presented as solutions to specific needs and problems. Don’t bury benefits in a long list of features. If your products are the fastest, quietest, most durable or economical on the market, say so. Keep detailed technical data to hand in a brochure. Keep your stand messages brief – Visitors are bombarded with information at exhibitions and can only take in so much. Where possible, stick to bold headlines and, if necessary, bullet points. Don’t skimp on photography – Photographs are a universal language and have great visual appeal assuming of course, that you use good images. One of the most common complaints from stand designers concerns the poor quality of photographic material they are given to work with. If photographs form an important part of your display, plan ahead. Ensure text can be easily read – Text should be placed at eye level or higher on the stand. Upper and lower case print is much easier to read than block capitals. If you do use longer text, stick to short sentences and paragraphs and use clear, well-spaced type. If it’s new say so! – The word ‘new’ is one of the most powerful words in advertising. If you are exhibiting a product or service for the first time, label it accordingly on the stand for all to see. Publicising your presence Start with your objectivesDifferent objectives require different promotional strategies. For example, if you want to raise awareness of a new company or product, banner advertising and sponsorship will ensure a high profile. If you have already identified your prospects, carefully targeted direct mail and exclusive stand invitations would be more appropriate. Co-ordinate your activities carefully – Exhibitions should be treated as an integral part of your marketing effort not as isolated events on the marketing calendar. Use the event to reinforce themes running in other media; put ‘see us at “. . ” flashes on existing advertising; promote your participation on your web site, and in customer newsletters. Read the publicity guide – Most events prepare a full guide to publicity. Make sure it is forwarded to the right person your marketing manager, or PR agency); take advantage of all free publicity opportunities; and be sure to meet all deadlines. Invite your customers and prospects – Recent research has shown that 83% of the most successful exhibitors (in terms of business generated and leads collected) had mailed their customers and prospects before the show. (Source: Centre for Exhibition Industry Research). You can mail your own lists, buy a list or mail the event’s list of pre-registrants. Include a ticket and a covering letter and/or incentive giving them particular reasons to visit your stand. Submit a catalogue entry – Exhibition directories/catalogues are the definitive guide to who is exhibiting, what they are showing and where they can be found. Available at show, they are increasingly published on event web sites to help attendees plan their visit. Use your free editorial entry to highlight new products/services and company developments, stressing benefits over features. Prepare a press pack – Ideally, your pack should contain a press release (or releases) on new product launches or company developments, stressing the benefits; background information on the company, preferably in the form of a fact sheet; and photographs, clearly captioned. Inform the media of your activities – Find out from the organisers which media are doing show previews (most show publicity guides carry a list). Note the deadlines and submit your news and photos in good time. Send your news to the event’s publicity manager too, for inclusion in the official show preview and review. Consider sponsorship – Use sponsorship to stand out from the crowd. Most event’s offer a range of ‘off-the shelf’ sponsorship opportunities, from carrier bags and signage to seminar theatres and press offices. Better still, talk to the organisers about a sponsorship package tailored to your particular objectives. Use the web to maximum advantage – Most events have their own web sites, and these are increasingly being used by visitors to plan their visit and maximise their time at show. Take advantage of all publicity opportunities including on-line catalogues and product directories, news pages, banner advertising and hyperlinks to your own site. Mail additional prospects after the event – Mail the prospects you did not have time to meet, after the event. Many organisers make their attendance lists available to exhibitors, and you can often target very selectively, for example, by job title, product interest, geographical location etc. You can either rent the list for single use, or purchase it for adding to your own database of prospects. Stand staffing and organisation appoint a Stand Manager – Stand managers need to be efficient, flexible, and diplomatic to deal with the many responsibilities at show, from motivating stand staff to liaising with contractors and welcoming important guests. Choose your team carefully – Ensure the right balance of sales and technical staff, as well as senior managers. One of the greatest complaints from visitors about exhibitions concerns the lack of knowledge of stand staff. Buyers attend exhibitions with very specific questions on product performance, price and delivery. Make sure you have staff available who can answer them. Pick staff that are willing and able – A positive attitude is vital if staff are to make the most of the event, and not undermine the enthusiasm of others. Don’t skimp on numbers – Exhibitions are hard work. Allow for adequate cover during busy periods and rest breaks. The costs of bringing one ortwo more people will be outweighed by increased productivity. Involve stand staff in the planning – If stand steel feel part of the project from the outset you’ll be much more likely to win their commitment and support. Draw up a duty roster – Give staff adequate breaks to avoid fatigue and boredom. 2-3 hours is about the longest most people can sustain their energy levels. Copy the rota to all team members, so they know who is on duty at any given time. Brief the team thoroughly – Hold a briefing session before the event, covering exhibition and personal objectives, exhibits, enquiry handling procedures, dress code, logistics, catering etc. Give each team member a written summary for reference on the site. Stand ’selling’ is a specialist skill – Set aside a day to teach the fundamentals of how to encourage visitors onto the stand, how to open and close conversations, how to qualify visitors, and the impact of their own body language. It will make a dramatic difference to performance. Use an efficient lead-recording system – Devise a tailor-made lead recording form for fast completion. Products of interest, type of business, purchasing authority etc. can all be listed so each interviewer has simply to tick the appropriate box. Use incentives to motivate staff – Set individual staff targets for lead gathering, and reward achievement. Run light-hearted competitions with prizes for the winners. Look after staff comforts – Stay as near to the exhibition as possible to avoid long journeys. If you have a sizeable team, hire a minibus to ferry yourselves to and from the hotel. Provide wholesome food on the stand and plenty of soft drinks. Establish some basic stand rules – Discipline is essential on an exhibition stand. Establish a few ground rules for staff, covering punctuality, dress code, wearing of badges, use of the hospitality area and the drinking of alcohol on the stand. Keep your ‘house’ in order – Put a member of the staff in charge of everyday ‘housekeeping’, with responsibility for ensuring that the stand is kept tidy, ashtrays are empties, literature is replenished and any damages to the display are quickly fixed. Ensure adequate security – Lock away valuables in an office or cabinet at night. Telephones and alcohol are particularly susceptible to abuse. Depending on the value of your exhibits, you may wish to hire your own security guard overnight. Recognise and reward achievement – After the show, tell your team what was achieved, and ask their opinions on how the results could have been bettered. Repay their effort and commitment with a small token of thanks. If they feel appreciated, they will be much more likely to try even harder next time around. Following up after the show – Plan your follow-up before the show – Set a deadline for making initial contact, and a system for ensuring that ALL leads not just the hottest, are pursued to a conclusion. If you don’t have the resources in-house, you should consider using the services of a mailing house or telemarketing agency. Clear diaries for a week after the show – Make sure those responsible for lead follow up set aside sufficient time to complete the job. Set aside a week, possibly two, depending on the number of enquiries you expect to take. Prioritise leads according to urgency – Categorise all enquiries as soon as possible – preferably, as they are taken on the stand. For example: A (definitely interested/ immediate buying intention); B (actively considering purchase within the next six months); C (gathering information for future reference. ) Follow up immediately – To maximise response you need to strike while the iron is hot. Category A leads should be dealt with immediately. Have a fax machine or office-linked computer on your stand, so they can be relayed to the office for immediate action. ALL leads should be responded to within a week, two at the most. Be persistent – Most exhibition leads take between three and eight months to come to fruition. Those involving the purchase of capital equipment or other high costs can take much longer. Prospects must continue to be contacted at regular intervals until a sale is concluded, or the lead dries up. Track all leads – Establish a central database of enquiries on computer. When distributing enquiry forms, retain a copy of each one in a central file, and record on it the name of the person to whom it has been distributed. Assign each lead a code so that it does not merge with the general sales database and can be tracked through to the accounts department for when the customer is invoiced. Establish an effective sales reporting system – Getting sales people to record and report on the progress of enquiries is important if you are to have any financial measure of success. But it can be a problem, especially when dealing with regional offices. When distributing leads, attach a report form which must be completed and returned by a deadline date, indicating lead status. If the sale is ongoing, issue a second report with a new deadline, and so on until the lead is pursued to its conclusion. Carry out a sales audit – An alternative to on-going lead tracking and sales reporting is to carry out a sales audit at an agreed period after the show. Ask each sales person to prepare a report indicating the status of all leads passed to them, the value of sales achieved, and anticipated value of future sales. Repeat the exercise at a later date. Evaluating exhibition effectiveness Measure your results – Depending on your objectives, there are a number of ways to measure exhibition success. It is a good idea to use as many as possible, to get the fullest picture of your achievements: Value of sales achieved. – Providing an efficient tracking system is used, it should be possible to ‘close the loop’ on many exhibition enquiries and assign a value to sales achieved. Number of leads qualified. Does the number match your target? What is the quality of the leads? Cost per useful contact. Divide the total cost of exhibiting by the number of leads generated to help establish the cost-effectiveness of the exercise. Number of new contacts made. – Compare the list of enquiries with your existing customer database. How many are new contacts? How would you have otherwise made these contacts? Levels of customer/market awareness. – Survey a cross section of visitors after the event asking them what they can recall about your company, your exhibit etc. Media coverage generated. Keep a log of all press cuttings, including local and national press, trade press, official show preview and review, show daily newspaper. Use a press-monitoring agency if necessary. Get a circulation figure from the organisers for the show preview and daily. Establish the area of page space you received in editorial and calculate the cost of an equivalent advertisement. Evaluate the content of the editorial achieves. To what extent did you succeed in getting your message across? Other. – Some benefits cannot be measured scientifically but are important when considering overall exhibition effectiveness. Consider the role the event has played in generating customer good will, building team spirit within the organisation etc. Evaluate your performance – Having measured results, you need to pinpoint and analyse the causes of success or failure, so you can make improvements next time around. If targets were not met, to what extent was it caused by the organisers (quality/quantity of visitors, organisational problems) or by your own efforts? Consider all areas of your participation, from planning and budgeting, to stand design, promotion and staff performance. Debrief the exhibition team – What did the team think of your performance? Hold a debriefing session while the event is still fresh in everyone’s mind. Prepare a post-show report – Write up your conclusions and recommendations in the form of post-show report. Include samples of promotions undertaken and photographs of the stand. It will give you a huge head start next time around; and will provide a solid foundation on which your successor can build, should you move on!

Robert McAnderson, General Manager, gained his experience in Marketing, Sales and Senior Management with 3M, Canon, Expertise Events and Intercept Information Solutions.

He is highly regarded in the area of Sales Management having held the prestigious title of Australian Sales Manager of the Year.

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Toby Ziegler’s Biography and Exhibitions at Saatchi-gallery

admin — Tue, 19 Jan 2010 08:11:38 +0000

Toby Ziegler was born on 1972. Toby Zieglerâ??s paintings and sculptures reflect a personal negotiation with the synthetic and the exotic. Fabricating his images on a computer, traditional motifs such as landscapes, still-life, and cultural artefacts are removed from the familiarity of popular consciousness and reconfigured as templates of abstracted information. Translated into a purist language of repetitive geometric patterns, the romantic associations Zieglerâ??s subjects are recomposed as sublime fields, incorporating references to virtual reality, Islamic mosaics, and 60s trippy pop.

In his paintings, Ziegler carefully reproduces these digitized models entirely by hand; each painstakingly rendered shape reveals tell-tale traces of the artistâ??s intervention, marking its space as an individual point of contemplation. Corrupting the consummate perfection of mechanical aesthetics with the intimacy of human fallibility, Ziegler develops a unique position to engage with the act of painting in the contemporary world.

Divorcing his subjects from the weight of their historical context, Zieglerâ??s fragmented motifs offer virgin terrains for painterly degeneration. In Designated for Leisure, this contradiction between the value of technological precision and its degradation through imperfect translation are reinforced through the paintingâ??s overwhelming scale and holograph-like surface. Composed on reflective industrial fabric, the paintingâ??s surface shifts and transforms when viewed from different angles, revealing the landscape within as a chimera of light and perspective.

In the Grand Cause, Zieglerâ??s abstracted sunset subverts the rigidity of graphic design with the spontaneity of painterly expression. Vying between attenuate detail and intuitive mark-making, the perfunctory qualities of his repetitive patterning evolve as personalized statements of authenticity and affectation. Defiling the gold leaf surface with materiality of paint, Ziegler capitalizes on the rich and luxurious quality of his ground to draw connotations to beauty and the grotesque.

SELECTED SOLO EXHIBITIONS

2006

â?¢ Galerie AsbÃ¦k, Copenhagen, Denmark – group show curated by Barry Schwabsky

â?¢ Archipenture: painters build architecture, Camden Arts Centre, London

â?¢ Archipenture: artists build architecture, Le Plateau -FRAC d’Ile de France, Paris

2005

â?¢ The Future Lasts a Long Time; Le Consortium; Dijon

â?¢ Ordering the Ordinary; Timothy Taylor Gallery; London

â?¢ Supernova; Bunkier Sztuki Gallery Of Contemporary Art Poland

â?¢ Traveling to: Kunstihoone, Tallinn, Estonia, Centre Of Contemporary Art, Vilnius, Lithuania, City Art Gallery, Prague, Czech Republic

â?¢ Enter Desire; Solo show at Chisenhale Gallery

2004

â?¢ Kingdom; The Market; Glasgow

â?¢ Contrapop; Vamiali’s, Athens

â?¢ Expander; Royal Academy of Arts, London

â?¢ John Moores 23; The Walker, Liverpool

â?¢ The Future Lasts a Long Time; Tal Esther Gallery,

â?¢ Tel Aviv

â?¢ Collection 1 (curated by Stephen Hepworth); Isabella Brancolini Arte Contemporanea, Florence

2003

â?¢ Art Kliasma 2003; Moscow

â?¢ EAST international; Norwich Gallery

â?¢ Civilia; Bluecoat gallery, Liverpool

â?¢ Creek; Cell project space, London

2002

â?¢ Project with Christopher Landoni and Oliver Michaels; King of Norway’s house, Piccadilly, London

â?¢ Hypnotising Chickens; One in the Other, London

2001

â?¢ Sages Scientists and Madmen; One in the Other, London

Conclusions:

Toby Zieglerâ??s paintings and sculptures reflect a personal negotiation with the synthetic and the exotic. Fabricating his images on a computer, traditional motifs such as landscapes, still-life, and cultural artefacts are removed from the familiarity of popular consciousness and reconfigured as templates of abstracted information. Translated into a purist language of repetitive geometric patterns, the romantic associations Zieglerâ??s subjects are recomposed as sublime fields, incorporating references to virtual reality, Islamic mosaics, and 60s trippy pop.

What to Do Next. . .

If you want any information about Toby Ziegler or looking for his paintings please visit us on http://www. saatchi-gallery. co. uk/artists/toby_ziegler. htm

View Toby Ziegler paintings, biography, solo exhibitions, group exhibitions and resource of Toby Ziegler. View art online at The Saatchi Gallery – London contemporary art gallery. Toby Ziegler

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