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76-540: Next Wave is also an artist development organisation and in non-festival years, it runs a development program called Kickstart Helix (formerly Kickstart) with the potential of their works being performed in the following year's festival program. In August 2007, Next Wave presented Free Play: The Next Wave Independent Game Developers' Conference , at the Australian Centre for the Moving Image . Next Wave

152-486: A 90-metre high cooling tower. Theme for the 2004 Festival was 'Unpopular Culture' and was designed to encourage a range of responses to current-day issues and youth culture. Artistic Director Marcus Westbury, who was in the demographic of festival artists, embraced Melbourne's inner-city laneways, old Dojos and empty buildings. Highlights included the Festival Club, which presented the first ever Freeplay conference,

228-455: A data visualisation designed by OOM Creative and More Studio. The Constellation takes the items collected by visitors on their Lens devices throughout the exhibition and connects them up to hundreds of other films, TV series, artworks and videogames beyond the scope of the gallery. Each recommendation is handpicked by ACMI's staff. An approximation of physical film editing and digital editing on screen, Edit Line allows visitors to The Story of

304-487: A long tradition of artist-run spaces and projects dating back to the late 1800s. In 1876 artist D. Knight Carter founded Vincennes Gallery of Fine Arts which was reorganized in 1880, by Frank C. Bromley, Henry Arthur Elkins along with other artist to establish a permanent gallery and residency for studio artists. In 1984, the exhibition Alternative Spaces curated by Lynne Warren at the Museum of Contemporary Art catalogued

380-508: A new century and millennium, Artistic Director Campion Decent quickly settled on the theme Wide Awake – Dreaming at Twilight. From this a program was curated, exploring ideas of collective dreaming, slipping between subliminal states of alertness. The 2000 Digital Arts package saw technology spill over into everything from live performance to the visual arts. The festival's web site was by far the most extensive thus far, including an events program, audience surveys, discussion lists, and an annexe to

456-550: A number of artist-run spaces. In Shoreditch , London Charles Thomson founded the Stuckism International Gallery in 2002 warehouse. The last show there was in 2004. The Transition Gallery was founded in October 2002 in a converted garage close to Victoria Park , Hackney , London, and is run by artists Cathy Lomax and Alex Michon to show work by established and new contemporary artists. In 2016,

532-566: A particularly strong effect on urban regeneration in Glasgow, where the city won the accolade ' European Capital of Culture ' in 1990 largely due to the large number of artist-run exhibition spaces and galleries, such as Transmission Gallery . Curator Hans Ulrich Obrist coined the term "The Glasgow Miracle" to describe this. South London is home to a number of artist-run galleries including Matt’s gallery , Newport street gallery and Beaconsfield gallery . East London has continued to house

608-517: A series of Indigenous Language Workshops hosted in partnership with Victorian Aboriginal Corporation for Languages, and a Writers in Residence program for writers with disability. Next Wave Festival 2016 was the organisation's most inclusive and accessible yet for artists and audiences with disability, and in recognition Next Wave was awarded a VicHealth Award for Building Health Through Arts. Artistic Director Emily Sexton asked artists to respond to

684-457: A vibrant artist-run scene, as evidenced by an artist-run fair called Other Places Art Fair (OPAF), consisting of almost entirely artist-run spaces and initiatives. During the 1950s in Manhattan, artist-run co-ops became the alternative to the uptown Madison Avenue galleries that catered mostly to wealthy blue-chip and European art-oriented collectors. From the early 1950s to the early 1960s

760-554: A wait of three years for the next instalment of what was already established as the state's most significant arts event. In that time the festival developed in size and scope, with more new works and proportionally more young people as performers, writers, directors, musicians and visual artists. Now a festival institution, the opening saw an invasion of the Melbourne City Square, with a quintessentially '80s titled (6000-people-strong) party, 'The Next Wave Boogie'. Before

836-563: Is Next Wave's major developmental activity, assisting early career artists across artforms, along with writers, curators and producers, to develop new work in a supportive environment. Taking place in the non-festival year, Kickstart projects are developed with a view towards inclusion in the forthcoming Next Wave Festival. Kickstart participants undertake a program of workshops covering all aspects of project development including creative development, budgeting and marketing as well as receiving ongoing administrative support and professional advice from

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912-702: Is a collection of experiences, and essays by various artist-run projects in Europe. Biquini Wax is an experimental project in Mexico City of exhibitions, events, parties, and lectures that was started in the house of the artists. La Feria de la Acción (The Action Fair) was an artist-run fair that ran parallel to Zona Maco and Material Art Fair in Mexico City in 2020. It showed only interactive, relational , or performative works. A number of artist-run spaces have flourished throughout New Zealand since

988-530: Is a free and permanent exhibition space constructed to educate the public about the moving image, a museum about moving pictures. The Mediatheque is a partnership with the National Film and Sound Archive (NFSA), which provides a space with 12 viewing booths where people can drop in and watch films, television clips, and new media and artworks from the NFSA and ACMI collections. In May 2019, ACMI closed to

1064-403: Is a smaller, more flexible gallery than Gallery 1. Gallery 2 exhibitions 2009–19 Gallery 2 exhibitions 2021 – present Open from 18 February 2021, Gallery 3 displays commissioned artworks and smaller exhibitions. Gallery 3 exhibitions 2021 – present Open from 18 February 2021, Gallery 4 hosts larger exhibitions and Melbourne Winter Masterpieces . Launched in October 2020, Gallery 5

1140-1112: Is an online space for virtual exhibitions and performance, and a commissioning space for practitioners making art that interrogates Internet and digital culture. ACMI's year-round film program celebrates local and international cinema. ACMI has two main cinemas located on Level 2 of the museum, which were the first cinemas in Australia equipped to present Digital Cinema (DCP). Today the cinemas continue to be equipped to screen analog formats including 16mm film, 35mm film, HDCAM, Digital Betacam and SP Betacam. Cinema 1 seats 168 and Cinema 2 seats 390. ACMI's ongoing film programs include: Past programs include: ACMI profiles actors, directors, writers, cinematographers, and film genres through its retrospective seasons and screenings. Highlights have included seasons on Wong Kar-wai , Agnès Varda , Abbas Kiarostami , Dario Argento , William Klein , John Cassavetes , and Jim Henson . Genres have included Ozploitation ; Zombie Horror; East German Cinema ; and Monsters, Ghouls and Melancholy Misfits in conjunction with

1216-492: Is any project run by artists, including sound or visual artists , to present their and others' projects. They might approximate a traditional art gallery space in appearance or function, or they may take a markedly different approach, limited only by the artist's understanding of the term. "Artist-run initiatives" is an umbrella name for many types of artist-generated activity. The two main artist-run spaces from Buenos Aires were Belleza y Felicidad and APPETITE , both set

1292-485: Is now seen as one of the leading international centres for culture and learning of its kind in the world. At ACMI he oversaw record organisational growth, performance and visitation, and a prolonged period of sustained success and achievement. Having spent ten years in the role, Sweeney resigned in order to return to his family in Britain. Katrina Sedgwick was ACMI Director and CEO from February 2015–22. She moved to

1368-433: Is supported by Blackmagic Design, and was designed in collaboration with BKK Architects and Second Story. Artist-run initiative An artist-run space or artist-run centre (Canada) is a gallery or other facility operated or directed by artists, frequently circumventing the structures of public art centers, museums, or commercial galleries and allowing for a more experimental program. An artist-run initiative (ARI)

1444-785: The North Edmonton Sculpture Workshop Although varying widely in structure, contemporary spaces like Ormston House , A4 Sounds, Pallas Projects , Sample-Studios, and 126 Artist-run Gallery have all emerged in the Republic of Ireland in the last 25 years. Following the Financial crisis of 2007–2008 , a number of Irish cities experienced high levels of commercial vacancies. Annette Moloney, curator and author of Art in Slack Spaces (2010), "notes that artists [were] increasingly making use of

1520-624: The Tim Burton exhibition. ACMI programs events to industry, practitioners and the broader public through talks and workshops in person and online. Regular public programs include ACMI + RMIT Audience Lab, Women & Non-Binary Gamers Club, First Nations Film Club, and workshops for families during the school holidays. Film festivals and events hosted at ACMI's venues are a core part of ACMI's cinema programs. The ACMI Collection contains over 250,000 items including film, ephemera, objects, videogames and time-based media art. It began in 1947 as

1596-582: The not-for-profit arts organization model, do not charge admission fees, are non-commercial and de-emphasize the selling of work. The centres were created originally in response to a lack of opportunity to present contemporary work in Canada and a desire to network with other artists nationally and internationally. In the 1990s there were over 100 artist-run centres across Canada. There are currently at least 60 artist-run centres with continuous operating funding. Important historical artist-run initiatives include

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1672-415: The reins to see out the festival, providing 625 Australian artists opportunities to present their work and ideas to some 238,000 attendees. Whilst the festival is staged every two years, non-festival years see special events. In 1993 Next Wave produced South East, a collaboration of community workers, teachers, young people, and established and emerging artists described as a "cabaret for the nineties" with

1748-562: The 1970s, SoHo became the new center for the New York art world as hundreds of commercial galleries opened in a sudden wave of artistic prosperity. Contemporary artist-run galleries include: Savernack Street is an artist-run micro-gallery located in San Francisco's Mission District created and curated by artist Carrie Sinclair Katz. The gallery interior is inaccessible to visitors and artwork can only be viewed by looking through

1824-529: The 1990s. Some have been short-lived, whereas others have secured long-term funding and been operating for more than a decade. There are numerous ARIs in the United Kingdom , often working around and critiquing the functioning of larger art institutions and organisations. An ARI is a project independently run by visual artists which generally showcases the work of local and emerging artists; many exist on low budgets and are managed by artist collectives. In

1900-518: The 2006 Melbourne Commonwealth Games, which took place from 15 to 26 March 2006. Running alongside all the sporting events was a free cultural festival called Festival Melbourne 2006, and Next Wave was responsible for delivering the Youth Program for this festival. The program for the 'Empire Games' Festival engaged with Melbourne's characteristic architecture and urban space. Some of the key projects included 100 Points of Light, which transformed

1976-583: The ACMI website. Visitors can add sound effects to scenes from Round the Twist and Li'l Elvis and the Truckstoppers using unconventional objects typically used in the practice of Foley art. Videos produced can be saved to Lens devices and accessed online. An interactive and immersive display of digitised Australian home movies from the 1930s from the ACMI collection. Beams of light are projected from

2052-714: The Belfast-based Catalyst Arts , wrote that: "Artist-run means initiating exchange; emphasizing cross and inter-disciplinary approaches to making art; developing networks; through curation, putting creative ideas and arguments into action" Catalyst Arts is based directly on Transmission, and in turn inspired 126 in Galway. Artcetera, PS², Platform, and the Belfast Print Workshop are all other artist-run spaces in Belfast. Chicago has

2128-491: The Containers at Federation Square program, and Colliding Worlds – a major regional program. In all 600 artists participated in 90 projects that attracted massive audiences and inspired a new generation of young Next Wave participants. Under the direction of Steven Richardson as Executive Producer/CEO and David Young as Festival Director, the 2002 Next Wave Festival was most notable for offering an entirely free program. With

2204-472: The Green Room Awards including: "The Stream / The Boat / The Shore / The Bridge" was subsequently awarded Outstanding Production – Creative Agency For Audiences. Can art be challenging and meaningful in a risk-averse, overly cautious society obsessed with security, OH&S policies and micro-management of behaviour? The 2010 Next Wave Festival's theme, 'No Risk Too Great', was a challenge to

2280-712: The Grimwade Centre for Cultural Materials Conservation, and private collectors. Many digitised items in the ACMI Collection are accessible to the public via the ACMI website or ACMI Collection YouTube channel. Located at ACMI, Fed Square on Level 1, the Blackmagic Design Media Preservation Lab is a publicly visible space where ACMI's Collection team can be viewed undertaking digital preservation, digitisation and time-based media (TBM) conservation activities. The Lab

2356-595: The Melbourne Festival was launched off the back of Spoleto, 1985 ushered in the state's major arts festival. In the year of Victoria's 150th Anniversary and International Youth Year, Next Wave was as timely as it was urgent as an expression of the state's emerging youth arts. Under direction from Andrew Bleby, the first festival set precedents to be built on in years to come: 80 per cent of events involved young artists, 90 per cent were Australian, and there were 13 regional festivals across Victoria. Kickstart Helix

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2432-553: The Melbourne Museum; a vast series of workshops and forums in Polyphonic; a collection of artists and artist-run initiatives from around Australia presenting new work in and around Federation Square in a project called Membrane, and a two art/nightclub events, called The Nightclub Project, staged at two unique venues in the heart of Melbourne's CBD. The 2006 Next Wave Festival was themed 'Empire Games' to coincide with

2508-582: The Moving Image and other select exhibitions hosted at ACMI. Visitors can view their curated collections on the ACMI website and access additional content. The Lens was designed in collaboration with Second Story , Swinburne University ’s Centre for Design Innovation and Lumicom. The Lens can be used at the Constellation, a room-scale experience located at the end of The Story of the Moving Image exhibition, consisting of six interactive touchscreen tables with an interface developed by Grumpy Sailor and

2584-551: The Moving Image to rearrange physical storyboard blocks that each represent iconic quotes from films and television shows to trigger a clip played on a large screen. The resulting clip can be saved to the Lens and accessed online. Referenced screen works include major films such as Titanic , Blade Runner , and Star Wars: The Empire Strikes Back , and television shows such as The Simpsons , The Wire , and The X-Files . An accompanying essay has been published for each work on

2660-601: The Moving Image , the Gandel Digital Future Labs and the Blackmagic Design Media Preservation Lab. ACMI partnered with Melbourne chef, restaurateur, writer and television presenter Karen Martini and Michael Gebran of HospitalityM to launch its restaurant, bar and café Hero. From 1992, John J. Smithies was Director of the State Film Centre of Victoria, until its merger with Film Victoria in 1997 formed Cinemedia . At Cinemedia, Smithies

2736-451: The Moving Image. Key works include Yanmeeyar , an art installation by Gunditjmara artist Vicki Couzens that is found at the beginning and the end of the exhibition; Canopy , a multi-screen installation by artist John Harvey; and the documentary My Survival as an Aboriginal by Muruwari filmmaker and activist Essie Coffey . The Lens is a handheld, take-home device that lets visitors collect artworks and objects throughout The Story of

2812-608: The Next Wave staff during the Kickstart period. Kickstart programs culminate in developmental showings of the work-in-progress to peers, stakeholders and other Kickstart participants. Australian Centre for the Moving Image ACMI , formerly the Australian Centre for the Moving Image , is Australia's national museum of screen culture including film, television, videogames , digital culture and art. ACMI

2888-532: The Sports Club Project at the MCG and the Festival Club. It was also Jeff Khan's final festival in the role of Artistic Director. Themed 'Closer Together', the 2008 Next Wave Festival involved almost 400 artists working across 61 projects in 40 or so Melbourne venues. Around 155,000 people came to an exhibition, saw a theatre or dance show, rocked up to one of five or more festival parties or caught one of

2964-603: The State Film Centre Education Program was set up. The program provided screenings for Victorian Certificate of Education students, based on core texts, and in-service days for their teachers. In 1993, a Victorian state government report reaffirmed the viability of a proposal for an Australian Centre for the Moving Image. In July 1997, following an open, international and two-stage design competition, Lab Architecture Studio (based in London at

3040-467: The State Film Centre collection allowing Victorians to access film for education purposes. Since becoming part of ACMI it has diversified to include all forms of the moving image. ACMI works collaboratively both nationally and internationally with organisations including the National Film and Sound Archive (NFSA) , the Internet Archive , MoMa , Tate , Swinburne University , RMIT University ,

3116-679: The Tenth Street galleries located mostly in the East Village in lower Manhattan became the proving ground for much of the contemporary art that achieved popularity and commercial success in the decades that followed. During the 1960s, the Park Place Gallery became the first important contemporary gallery in SoHo . Park Place gallery was an artist-run cooperative that featured cutting-edge Geometric abstraction . Eventually, by

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3192-582: The UK, ARIs tend to be smaller and less permanent than public and municipal organisations and can, for example, become established for the duration of an event or for the period of a lease on a property. Most ARIs in the UK are funded by the Arts Council , the national development agency for the arts in the UK, distributing public money from Government and the National Lottery . Artist-run spaces had

3268-657: The Value of Artist Led Organisations in Ireland. The Future is Self-Organised – Artist-Run Spaces was an exhibition curated by Pallas Projects at the Limerick City Gallery of Art . A number of artist-run spaces and projects from Ireland and abroad were represented, as well as artists who have worked with Pallas over its 20 year history, in this 2015–16 exhibition. Pallas then co-published, with Onomatopee, Artist-Run Europe: Practice/Projects/Spaces later in 2016. It

3344-596: The Victorian Government. Tony Sweeney was appointed director and CEO of ACMI in 2005. Before his move to Australia, he had been the deputy director of the National Museum of Photography, Film & Television (UK), and focused on developing the museum's brand profile and content strategies. He directed the museum's Imaging Frontiers masterplan re-development, which generated record visitor numbers and international critical acclaim. The museum

3420-496: The artist-run project Auto Italia South East relocated to Bethnal Green after programming and producing artists work nomadically in donated or squatted buildings since 2007. studio1.1 was founded as a co-operative in 2003 and is run by artists Michael Keenan and Keran James. The gallery is an artist-run, not-for-profit space, located in a former sex shop in Redchurch Street, Shoreditch , East London. One ARI,

3496-411: The artists to be ambitious and see what art can achieve while asking the question: is our society and our art too safe? Next Wave opened up new spaces for artists to explore this question. Building on the momentum of previous Festivals, the 2010 Festival brought together around 53 projects and over 300 artists from Victoria, Australia and across Asia. Popular highlights were Bennett Miller's Dachshund U.N.,

3572-471: The ceiling that animate when visitors hold out their hands. An interactive experience in the Moving Pictures section of The Story of the Moving Image where visitors use their bodies to control virtual puppets projected in front of them. Gallery 1 now houses the permanent exhibition The Story of the Moving Image which opened in 2021 following a renovation of the gallery. Gallery 1 is built along

3648-529: The centre assumed management of the newly constructed State Film Theatre, providing a facility for exhibiting material not screened in commercial cinemas. In the 1970s, the centre began acquiring examples of student films as well as those made by the newly vibrant Australian film industry, such as Homesdale (1971) by Peter Weir , Stork (1971) and Alvin Purple (1973) by Tim Burstall , and The Devil's Playground (1976) by Fred Schepisi . In 1988,

3724-620: The city's laneways and shop fronts with installations and projections, and the Containers Village at Melbourne's Docklands, which presented the work of forty-three Commonwealth artist-groups in shipping containers. Empire Games also presented innovative regional projects, including the digital art project Bitscape. Artist Pip Shea worked with youth from Morwell, Moe, Wagga Wagga and the Macedon Ranges to create audio-visual works which were displayed as large-scale projections on

3800-482: The community-building exercise Fest on the Net. While each festival emerges with its own vision, Artistic Director Zane Trow entered his fourth festival with a decision to develop a program along a single curatorial brief: Distance. The theme encouraged various responses, with artists exploring distance along various lines, including geography, culture and gender. Zane was unable to complete his tenure, and Wendy Lasica seized

3876-524: The country to discuss the future practice and direction of youth arts. 1992 saw Zane Trow enter the role of Artistic Director and steer the festival in new directions. The new program area Art & Technology supported artistic endeavours that explored emerging technologies. BYTEBEAT gave witness to nine local 'techno pop bands' playing to 1000 revellers in the Great Hall of the NGV. Berni Janssen coordinated

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3952-411: The entire length of what was previously Princes Bridge railway station . From 2002 to 2019 Gallery 1 was used for temporary exhibitions on the moving image such as video art, installations, interactive, sound art, net art and screen related objects were all regularly exhibited in this space. Gallery 1 exhibitions 2002–19 Gallery 1 exhibitions 2020 – present Open from 18 September 2009, Gallery 2

4028-464: The festival's Keynote Projects. It all began on 15 May when 1300 people came along to the festival's opening night at Federation Square in the heart of the city. From there it was 16 days of some of the best work by Australia's leading emerging artists. Significantly Next Wave organised a series of Keynote Projects that involved the Canadian duo The Movement Movement jogging more than 150 people through

4104-603: The grand narratives of our time? How do we come to understand them and whose voices create their meaning?" 38 commissioned works by 239 artists from across Australia, the Philippines, Korea, Lebanon, Canada and the UK made up the 2014 event. Blak Wave was the keynote initiative of the 2014 Festival, presenting major commissions, public conversations and a publication that explored the future of Indigenous art. 2014 Victorian Green Room Awards nominations included: The Next Wave Festival unfolded from 19 to 27 May 2012. Its theme

4180-406: The growing Writers Programme, with a video documentary of the program made by secondary school students. Behind the scenes, radio trainees took over 3RRR, and RMIT Media Studies students produced reviewing programs for 3JJJ. In 1990 for the third time Andrew Bleby held the helm of Festival Director, launching both the festival and young artists well into the '90s. As if psychically pre-empting one of

4256-408: The history of videogames. Games Lab is presented in partnership with Melbourne-based game developer Big Ant Studios . Moving Minds encompasses factual media and information that traverses the history of newsreels, broadcast TV, documentary, war reporting and propaganda, citizen journalism and video art. Artworks and installations by First Nations artists feature prominently throughout The Story of

4332-482: The idea of the 'New Grand Narrative' for the 2014 festival taking place 1–11 May. Specifically the festival was offering the following ideas to be explored, "How do we come to care about things we're not interested in? The information we encounter is increasingly curated. And we have increased ability to filter that which doesn't add to our worldview. There are less pages of the newspaper to turn, more apps to buy and I don't have to follow you if you're not relevant. What are

4408-557: The new Melbourne Arts Precinct Corporation (MapCo) in March 2023. In August 2022, Seb Chan was appointed Director and CEO. Chan joined ACMI in 2015 as Chief Experience Officer. He is current President of the Australian Museums and Galleries Association . ACMI's 1,600sqm centrepiece exhibition explores the past, present and future of film, television, videogames and art, and features over 900 objects from around Australia and

4484-468: The new decade's iconic themes, the 1990 Next Wave Festival opened with 'Planet Earth Boogie' – drawing attention to environmental and indigenous issues through the creative energy of thousands of teenagers and youth. As another first, the festival included a significant program for young writers and readers, a fitting innovation for International Literacy Year. With the second festival lined up to coincide with Australia's bicentenary in '88, Victorians endured

4560-459: The public to begin a $ 40 million redevelopment. It reopened to the public in February 2021 with a new permanent exhibition The Story of the Moving Image . ACMI partnered with Melbourne architectural firm BKK Architects , who redesigned the museum's functional layout and public spaces. Experience design firm Publicis Sapient / Second Story designed ACMI's centrepiece exhibition The Story of

4636-744: The recession as an opportunity to use vacant shops." At this time, artist initiated projects like The Complex, Block T, Basic Space, The Joinery, and This is Not a Shop, availed of such spaces in Dublin, while Occupy Space, Ormston House, Raggle Taggle Consortium, and Faber Studios appeared in Limerick. Additionally, Basement Project Space, Cork Contemporary Projects, The Couch, The Black Mariah and Sample-Studios/Tactic in Cork, as well as 126 and projects by Engage Art Studios in Galway appeared more or less simultaneously. In 2015, 126 published FOOTFALL: Articulating

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4712-521: The scores of artists and artists' spaces to emerge in Chicago including a wave of alternative spaces that emerged from 1960s through 1984 including Artemisia Gallery (1973–2003), ARC Gallery (1973–), Gallery Bugs Bunny (1968–1972), N.A.M.E. Gallery (1973–1997), NAB Gallery (1974–1984), Randolph Street Gallery (1979–1998), 1019 W. Lake St./Noise Factory (1981–1985), W.P.A. Gallery (1981–?) and Axe Street Arena (1985–1989). In 2009, Artist-run Chicago

4788-528: The spotlight on fusions of contemporary and traditional south-east Asian art forms. Come 1994, the festival played host to events and programs attracting audiences of 80,000 people. In the Art and Technology program, digital artists were attracted from the USA, Japan, Germany and Spain. At a national level, the 7th National Youth Arts Conference was planned to coincide with Next Wave – drawing together delegates from across

4864-518: The standards for emerging art in Argentina. APPETITE was a gallery was the first Argentinian gallery to be accepted at Frieze , London, and encouraged a lot of galleries to its San Telmo barrio . Many artist-run spaces exist in Australia. These spaces are often provided with funding assistance by government and state funding bodies. Artist-run centre is the common term of use for artist-initiated and managed organizations in Canada. Centres follow

4940-576: The tag line 'Free at Last', the festival delivered a cultural rodeo of art, pop culture, new media, social action, environmental concerns, healthy dissent and extreme sport. The most colossal example of this was the Colony Project, during which acrobatic angels lived in the spire of the Victorian Arts Centre. The Festival also featured the on-line Megabite project, showcasing short works of digital animation. To usher Next Wave into

5016-450: The then Minister for the Arts, Mary Delahunty , announced a funding increase to Victorian festivals (following a strategic funding review), with Next Wave receiving $ 350,000 in annual funding. The COVID-19 pandemic forced the 2020 festival to go virtual. Forgoing a Festival theme, Director Georgie Meagher invited artists to 'think wide, listen deep and go long'. The event ran 5–22 May and

5092-585: The time), in association with their joint venture partners, Bates Smart architects, was announced as the winner. Federation Square was to be a new civic space, built above the Jolimont railyards , to mark the celebration of Australia's Centenary of Federation. On 1 January 2002, the Australian Centre for the Moving Image was officially established by the Film Act 2001 (Victoria). The first stage

5168-797: The world. The Story of the Moving Image begins with objects and interactive experiences that showcase people, techniques and inventions that contributed to the development of motion pictures. Costumes, characters, set and production design, storyboarding, visual effects and Foley are featured in the Moving Worlds section to illustrate the creative processes behind iconic films, TV shows and videogames. Featuring objects and installations from Australia's screen industry, including prominent works by First Nations artists. Games Lab features videogames from local and international independent developers and AAA publishers. The section contains twelve playable games, plus artworks and interpretive information about

5244-555: Was 'The space between us wants to sing' and was Emily Sexton's first festival as Artistic Director. The theme was explored by artists in a variety of ways including No Show's interactive theatre piece, Shotgun Wedding and The Greater Asia Co-Prosperity Sphere by Asian-Australian artists Abdul Abdullah , Nathan Beard and Casey Ayres. This part-installation part-performance piece took place in the National Gallery of Victoria . Several works were nominated for various categories of

5320-640: Was clustered into geographic precincts across Melbourne, presenting work in a series of both traditional and unique spaces, including the Royal Botanic Gardens Melbourne, an underground carpark, and a storage unit. 37 projects spanned the Festival, including theatre, dance, visual art, music, parties and workshops. Highlights include Nat Randall's 24-hour epic The Second Woman at ACMI; Pony Express's Ecosexual Bathhouse; The Delta Project's Under My Skin; Maurial Spearim's BlaaQ Catt,

5396-412: Was deputy director, with prime responsibility for developing the Australian Centre for the Moving Image. He became the first director and CEO of ACMI in March 2002. He was responsible for opening the new public facilities in October 2002. After a period of turmoil, with the organisation over budget, Smithies left ACMI in 2004, and later said the facility had been forced to open while "under-funded" by

5472-529: Was established in 1984, under the direction of Founding Director Andrew Bleby. The first Next Wave Festival took place in 1985, and established its focus on developing and presenting work by young Australian artists. From 1998 onwards, the festival has occurred biennially. Next Wave is supported principally through Arts Victoria , the City of Melbourne , and the Australia Council for the Arts . In 2006,

5548-458: Was established in 2002 and is based at Federation Square in Melbourne , Victoria. ACMI features a range of curated exhibitions as well as a permanent exhibition, The Story of the Moving Image. It also provides a regular program film screenings and events, a library and online collection of film and video and an education program. Prior to ACMI, Victoria's main film and screen organisation

5624-589: Was mounted by the Hyde Park Art Center and featured notable artist-run spaces operating between the late 1990s and 2009. Los Angeles has a tradition of artist run spaces dating back to at least the 1950s. Chris Burden's Shoot piece took place in a space run by artist Barbara T. Smith . Los Angeles Contemporary Exhibitions was founded by several individuals including two artists. Machine Project , Pretend Gallery, Actual Size, and Human Resources are all managed by artists. Currently Los Angeles has

5700-792: Was opened in October, with two exhibitions, Deep Space: Sensation & Immersion and Ngarinyin Pathways Dulwan , running in ACMI's Screen Gallery. A few weeks later, ACMI Cinemas officially opened. In September 2009, the Australian Mediatheque and the Screen Worlds gallery opened. The Screen Worlds exhibition was opened by Cate Blanchett , who loaned her Oscar for best supporting actress for her part as Katharine Hepburn in The Aviator . Screen Worlds: The Story of Film, Television and Digital Culture

5776-515: Was the State Film Centre of Victoria, based at Treasury Theatre, which was established in 1946. In the 1950s, the State Film Centre was involved in producing a number of projects for television, then a new medium in Australia. It also played a role as an archive of Australian films, such as The Sentimental Bloke (1919) and On Our Selection (1920). During the 1960s, the State Film Centre provided advice on film treatments, production, scripts and distribution outlets to local filmmakers. In 1969,

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