With its new visual arts programme starting Spring 99, the Austrian Cultural Institute in London takes a step on unusual territory for an institution of this type. Operating in a city like London, with its art scene of world-renowned abundance and vitality, the Institute has justifiably reassessed its objectives in maintaining a gallery space of its own. What can it offer to an apparently over satisfied art world that hardly recognises 'National Art'? Furthermore what can it offer to Austrian artists who might be eager to show in London but might not consider the attribute 'Austrian' to be particularly relevant to their work? What do the international cross-currents and contacts that characterise the contemporary art scene have to do with the diplomatic establishment from which the cultural institutes emerge?

The Austrian response is ingenious and somewhat audacious. Instead of appointing a diplomat or curator from Vienna, the Institute has invited me, as a British artist with no previous experience in Austria, to take on the role of visual-arts co-ordinator. From an institutional point of view it is a happy contradiction, because it activates the process of discovery and translation that is so important in establishing cultural dialogue. There is a balance between the freedom I have been given and the responsibility I have of researching, devising and organising a series of events over twelve months as well as piloting the 'guest curator' scheme. From an organisational point of view, it allows a much greater flexibility than was possible before. From an artist's point of view it is a surprising opportunity.

My aim is to create a context for the work I am showing and to make this programme a meaningful platform for a wide range of practice. It was clear that simply bringing works to hang on the wall at the Institute would never do that, and I'm not in a position to be a 'cheque-book curator'. It seems to me vital that the communication between Austria and the UK is a two-way street. My method therefore has been to initiate collaboration, partnership and dialogue between individuals and organisations from both sides.

The emphasis in the exhibition programme is on showing new work by younger artists with collaborative and site-specific projects. Among the other projects under way are 'Flow in Form: dynamic forces in alpine architecture', a joint exhibition by University of North London and the Institut für Hochbau und Entwerfen, Innsbruck (July), 'Phase Shift: art and politics' a programme of talks, presentations and public discussions organised in co-operation with Depot Kunst und Diskussion, the independent forum in Vienna (November), 'The Developed Surface', a series of two-artist shows exploring drawing and installation (starting November).

Effectively, the programme is being run as an artists' space would be. That is, with energy, imagination and enthusiasm, a certain amount of opportunism and with no particular regard to purity.

Anthony Auerbach

[Not everything mentioned here turned out extactly as proposed, but the programme did open in June 1999 with Trousers for the Brain by Werner Reiterer]