威尼斯双年展花园中的加拿大馆
50岁的电影制作人Mark Lewis将代表加拿大参展2009年威尼斯双年展。但是，这位艺术家因此而做起了筹资人。
目前，Mark Lewis正忙于出息各种晚宴，他将出售一些自己的作品来填补资金空缺。在收到一笔来自渥太华34.4万加元的捐款后，依然存在80万加元的资金缺口。
能够代表加拿大参加威尼斯双年展是一件很荣幸的事，正如此次加拿大馆的策展人Barbar Fischer说的那样。但是，由于展馆需要翻新，以及Lewis的项目安装复杂，造成展出的花销剧增。展馆的翻新费用包含在年度预算中，而年度预算又包含了展出经费。展馆的玻璃，木材，钢结构在腐烂，生锈，而加元对欧元汇率的下降使情况更加困难。
在威尼斯拥有自己的展馆对加拿大来说有好处也有坏处。加拿大展馆是双年展花园的三十个展馆之一。在威尼斯拥有自己展馆的国家从日益增加的来访者中获益，而另外60个没有独立展馆的国家只能在双年展花园之外的临时地点做展。
Mark Lewis的更多信息请参考：http://news.99ys.com/article/20261/1
(来源：ARTINFO网站，点击阅读原文)
【编辑：Julia】
Can-Do Canadians Struggle Toward Venice Biennale
Mark Lewis, a 50-year-old filmmaker, is going to represent Canada at the 2009 Venice Biennale, but to do so, he’s had to become as much a fund-raiser as an artist.
Lewis is spending a lot of time at dinners and will sell copies of some of his works in order to help bridge a budget gap of at least CAN$800,000 (U.S. $736,000) after the CAN$344,000 contribution from Ottawa.
Getting to represent Canada at the prestigious art gathering has been a “pyrrhic victory,” according to Barbara Fischer, curator of the project and executive director of the Justina M. Barnicke Gallery at the University of Toronto. But costs have been inflated by renovations needed for the Canadian pavilion, both to deal with an aging building and to accommodate Lewis’ complex projection installations. The artist specializes in blending old-fashioned film backdrops with high-tech digital foregrounds.
Having its own pavilion is both a good and bad thing for Canada. The structure is one of 30 in the Giardini della Biennale. Countries that have their own buildings for biennale benefit from increased visitor traffic, and the 60 exhibitors that don't have their own buildings are forced to exhibit off-site in temporary locations.
But the Canadian structure is in bad shape, and the renovations are contained in the annual budget, which includes exhibition costs. The glass, wood, and steel structure is rusting and rotting, and the decline of the Canadian dollar against the euro means there is little available funding for repairs. Management is left up to the curator of each Biennale's exhibits, so there is no continuity, and European regulations are complex.
(来源：ARTINFO网站，点击阅读译文）
【编辑：Julia】
