When a sponsor of the exhibition asks the artist to negotiate separate contracts with each exhibition venue, it is worth judging whether the exhibition`s proposal is worthy. Negotiating a separate contract with each venue is not practical and is not recommended for both the artist and the exhibition sponsor. This edition is particularly relevant when the artwork is already owned by the exhibition sponsor. It could endanger the work of art or some kind of “limbo” insurance. At least the absence of a global contract may mean a less professional approach or inexperience on the part of the exhibition sponsor. I. GENERAL INFORMATION Some exhibitions sponsored by non-profit organizations, alternative art spaces and museums may try to promote unusual, amusing or provocative artworks for their particular audience. Such exhibitions should not focus on sales and generally do not intend to represent the artist beyond the specific exhibition Typical non-commercial exhibition sponsors differ from retail/commercial galleries and may include guilds, artists` organizations, non-profit organizations and alternative exhibition venues. (Established museums generally have their own exhibition contract, although this document still offers some insights.) The specialised guidelines exhibition contract (for non-commercial exhibitions) aims to provide artists and sponsors of non-profit exhibitions with the opportunity to clearly define the responsibilities of each party and to promote open communication.
(In situations where the work is exhibited by a sales/sale gallery, you refer to the shipping contract in the professional guidelines.) The dates of the exhibition are not changed without the artist`s prior written consent. C. If the exhibitor is the first exhibitor in the guided tour of the exhibition, the exhibitor agrees to pay: (i) transportation costs, including, but not limited to, actual costs for sending crates and lenders of works to the shipper outside the place of consolidation; (ii) transportation costs, including, but not limited, receipts and shipping costs from the organizer, the shipper outside the consolidation field at the exhibitor`s premises and (iii) transportation costs, including, but not limited, the organizer`s cash and shipping costs and the organizer`s courier fees at the location of the next exhibitor. The works of art must remain in the exhibition. Exhibits in non-profit venues and museums can last three months or more. Work acquired during such an exhibition must remain in the exhibition for the duration of the exhibition. The removal of the work during the show, for some reason, dilutes the effect of the show and deprives future spectators of the full range of work in the show. In public and in the ads, participants will often be listed.
How disappointing it is to go to an exhibition and not find the work of a particular artist.