Overview

NOTE: This event has passed. This section of the site will remain on-line as a record of the event.

The majority of ISPA members work mainly in the “mainstream” of artistic tradition as shaped by the twentieth century: subscription series; season brochures; formal spaces and seating arrangements; standard marketing and selling of tickets; fairly predictable audience profiles; press reviews etc. Yet there exists a whole other universe of art, artists and audience interactions outside of “our” world. We hope this Congress might be an opportunity to have a glimpse at the underbelly of not only what is being made, but how it is being made and organized. This in turn may (or may not be?) also be a glimpse of where future “mainstream” artists and audiences come from, and therefore of helpful practical assistance in envisioning new paths of programming, presenting and facilitation.

F l u i d i t y

From “fluid”

noun:
a substance that has no fixed shape and yields easily to external pressure

adjective:

1. able to flow easily
2. not settled or stable
3. smoothly elegant or graceful
4. (of a clutch or coupling) using a liquid to transmit power

We use the word fluidity advisedly when we use it to describe the way new audiences experience the arts. Our discussions and observations have told us thus far that new, sometimes young, audiences are neither for the opera nor against it, neither for classical music nor against it, do not prefer theatre to dance, and can enjoy a narrative play on Broadway as much as a challenging screen based impressionistic piece. They view the options, and flow easily between them. Along with fluidity in taste is a concomitant fluidity of arrangements and procedures to get to experience the arts. Those who rejoice in this new fluidity are unlikely to book far in advance much less buy a subscription season ticket. We know they move fluidly between music, theatre, installation, visual art, style and design expos, eating, clubbing etc. They are not dedicated to one form and the fluidity of their attendance is aided by cell phones and texting, the internet and pod-casting via which media they will learn very quickly what their peers find hot or cool, and flood to the place of excitement. They do not consult the New York Times for critical appraisal.

All of this has profound consequences for all those who deliver art to audiences, design and manage facilities, and in particular for the membership of professionals who constitute ISPA. How will agents, venues and other presenters restructure their organizations to support and promote such artists?

This is the territory we hope to explore at ISPA’s 59th Annual Congress in New York: 16-18 January 07. Curated by Robyn Archer, this Congress will introduce us to a growing crop of artists who choose to be just as fluid in form as new audiences are in taste.

The Congress hotel will once again be the Jumeirah Essex House on Central Park South, but in keeping with the theme, delegates will “flow” though a variety of venues to experience the subject matter first-hand! This will include opportunities to attend “fluid” performances in downtown Manhattan, as well as our regular Pitch and ProEx sessions.

Cancellation Policy

• Registrations cancelled before November 1, 2006 will be refunded, subject to a $50 administration deduction.
• Registrations cancelled after November 1, 2006 (but before January 2, 2007) will be refunded 50%.
• Registrations cancelled after January 2, 2007 will not qualify for any refund.