Week 7- Finalising the Exhibition Title and Budget Planning
This week, I first determined the name for the exhibition: “”. The name uses the metaphor of an “invisible cloak” to represent the hidden and overlooked intangible spatial boundaries within the city, and “wander” is used to echo the bus tour and casual visiting style of the exhibition.
Meanwhile, I made a rough estimate of the £10,000 exhibition budget. The budget mainly covers seven sections: artist fees, material setup, promotion, AR technology, security, project documentation, and contingency funds.
- Artist-related expenses (totaling £6,120, accounting for 61.2%)
All three artists were arranged for a 3-day short-term residency. The cost for the residency was calculated based on “mid-range accommodation fee of £90 per day + £50 per day for living allowance” in the “Edinburgh Art District” (totaling £140 per day per person). The remuneration was divided into “display fee + customized creation fee”. International artists were referred to the Scottish cross-border cooperation standards, while local artists were calculated according to industry/newly emerging standards. The creation fees were all site-specific responses to the creation budget and met the actual creative needs: - Materials and Outdoor Setup Costs (Total 1200 pounds, accounting for 12%)
Inclusive of art installation materials, public interactive materials, and the construction of outdoor wind-resistant display stands at six sites. The setup cost is calculated based on the daily wage for small-scale projects in Edinburgh:
Art installation materials: Toby Paterson’s outdoor waterproof geometric floor stickers 350 pounds, Clara Ursitti’s olfactory installation (fragrance / essential oil / display container) 250 pounds, totaling 600 pounds
Public interactive materials: Auxiliary materials for Leith Walk & Ocean Terminal collage 150 pounds, sand art tools 50 pounds, Royal Mile slow performance props 200 pounds, totaling 400 pounds
Outdoor display stand construction: Simple outdoor wind-resistant art display stands at six sites, 200 pounds each - Pre-event Promotion Expenses (Total 1000 pounds, accounting for 10%)
Inclusive of printing of promotional T-shirts, hiring personnel to walk along Princes Street for promotion, and calculating the part-time fees based on the legal minimum wage of 11.95 pounds per hour in Edinburgh:
Printing of promotional T-shirts: 40 custom-made pure cotton ones, 400 pounds
Part-time personnel: 3 part-time staff, promoting for 3 days, 4 hours each day, totaling 3×3×4×11.95 ≈ 430 pounds
Supplementary promotional materials (simple flyers): 200 pounds - AR Technology Development and Equipment Costs (Total £600, accounting for 6%)
A local small-scale technical team in Edinburgh was selected to focus on the core experience and only develop the core AR landscapes for the six stations (the bus section was simplified to a basic interactive effect):
Core AR landscape customization development: £60 - Security and On-site Execution Fee (Total 300 pounds, accounting for 5%)
For the protection needs of the outdoor art exhibition works, the security fee is calculated based on the daily salary of 100 pounds per person for part-time security personnel in Edinburgh:
Security Fee: 6 major sites will have 1 security personnel on patrol and on duty for 3 days. The total is 3 × 100 = 300 pounds. - Project Records and Deposit Fees (Total 380 pounds, accounting for 3.8%)
Art delivery and special insurance for the works (for Chris Johanson’s lightweight pieces only), comprehensive records of the exhibition process, laying the foundation materials for the long-term influence of the project:
Chris Johanson’s art delivery + special insurance 300 pounds
Exhibition photography / Compilation of audience feedback: 80 pounds - Emergency Reserve Funds (Total £400, accounting for 4%)
These funds are used for the protection of equipment in case of sudden weather conditions outdoors in Edinburgh, as well as for replenishing small supplies. They can also be adjusted slightly based on actual on-site conditions (such as changes in artist residency fees).
Some questions：
1. My exhibition focuses on presenting the intangible spatial boundaries of Edinburgh, but the critical nature is not strong. In which parts of the exhibition can I optimize the design to more directly point to the sorting and deconstruction of the spatial value and the spatial distribution logic of the collusion between capital and power?
2. The project currently leans more towards experience. Which parts of the exhibition should I prioritize to enhance, in order to most effectively enhance the social significance of the entire exhibition and ensure that local residents do not merely passively watch?
3. As a short-term outdoor project, through which methods can I leave a long-term mark, so that the project can still continuously trigger discussions after its conclusion, rather than completely disappearing?
