Posted August 05, 2010 by Anonymous
Part 1.
Year Founded: 
1c. Organization's annual budget.: 
$0 - $50,000
1b. Primary activity[ies] of the organization.: 
Multipurpose Space [Amalgam of Multiple Artistic Disciplines]
Performance Space
Part 2.
2a. Mission Statement: 
Throughout the past 25 years, Lilo Kinne presented works of art, and held art events/exhibits of her own art in cooperation with artists from all over the world (paintings, photographs, multimedia installations, videos, art performances, and body painting). Since the 1970’s, she has developed international art projects with ART SPACEs in different cultures, where she arranged exhibitions and held art performances. ART SPACE - STUTTGART (1975 - 1978) ART SPACE - SAN FRANCISCO (1979) ART SPACE - TOKYO (1980) ART SPACE - FRANKFURT (1981) ART SPACE - PARIS (1982 - 1989) ART SPACE - NEW YORK (1989 - Present) In the ART SPACEs in the different countries, art exhibitions & art events, with MULTIDIMENSIONAL ART PERFORMANCES were held during opening receptions. From 1976 on, Lilo Kinne held MULTIDIMENSIONAL ART PERFORMANCES with DANCE & THEATER. While in Stuttgart (1976-80) and Frankfurt (1981), Germany; then in Paris, France (1982-89), and later in New York City (1989-Present), she choreographed for multi-cultural groups of people of all skin colors, and called this Dance & Theater group LILO KINNE MULTIDIMENSIONAL ART PERFORMANCE GROUP. In 1985, Lilo Kinne as the Founder of the ART SPACE participated at the INTERNATIONAL DANCE FESTIVAL in Cannes at the Cotes d’Azur, France. At this event, she showed her MULTIDIMENSIONAL ART PERFORMANCES and choreographed while dancing. At this meeting of international contemporary dancers & dance companies from all over the world, Lilo Kinne demonstrated that choreography can become totally intuitive work, where the choreographer and dancer become one and the same, creating the piece while letting the energy flow freely through the body. Statement of Lilo Kinne: "Since every moment in time is different, and all is always in flow, things develop in synchronicity. My art performance/dance & theater is never repeated in the same way. Every time I perform, I perform uniquely and intuitively. I let the energy flow through me." For the first time, in 1985, on an international level, in the field of contemporary choreography/dance, she presented, explained & performed before leading international dance companies such as the Stuttgart Ballet (Stuttgart), Ballet of the 20th Century (Brussels), Bella Levitsky Dance Theater (Los Angeles), among others, her concept of MULTIDIMENSIONAL DANCE, which, as she defined it as a philosopher, shows life in its flow within and through the body of a human being. Writing has been part of Lilo Kinne’s life and one of the ways in which she expresses herself. Writing also became part of numerous of Lilo Kinne’s paintings, especially since the 1970’s, when she declared her art "Multidimensional Art". "WRITTEN WORD" as well as "SPOKEN WORD" are part of Lilo Kinne’s art and are inseparable from her as well as from her works and so is the ART SPACE as her creation! Since 30 years, Lilo Kinne dedicated her life to the creation and activities of the ART SPACE’s in different cultures: ART SPACE - STUTTGART (1975 - 1978) ART SPACE - SAN FRANCISCO (1979) ART SPACE - TOKYO (1980) ART SPACE - FRANKFURT (1981) ART SPACE - PARIS (1982 - 1989) ART SPACE - NEW YORK (1989 - Present) In 1989, the ART SPACE-NEW YORK was created and was at first situated on Spring Street, then between Prince and Spring Street on Lafayette Street in SoHo. In her large paintings as well as in her videos, Lilo Kinne describes the human existence in its essence, and explains the nature and characteristics of human life in the middle of the entire flow of things. Lilo Kinne loves HUMANKIND and cares for each individual, which makes it a special experience to meet her in person. LOVE and COMPASSION are her nature, and she is very conscious about LIFE in general. There is nothing simple about that...Complexity is what she teaches and lives every day of her life! Many artists from all over the United States as well as from all over the world have come to work with Lilo Kinne and have accomplished projects with her in the fields of painting, dance/choreography, film/video, theater which developed in the past 2 years into her Spoken Word/Hip-Hop Project. Dancers from different cultures have performed with her on stage, choreopgraphing while dancing with Lilo Kinne. Film producers have co-created films with her which document the human existence in its synchronicity.
Website Link to Mission Statement:
2c. Exhibition / Programming / Publishing History.: 
Lilo Kinne’s work was presented widely in the media, with many appearances in magazines, news papers, and on television. Numerous solo shows and participations in group exhibitions all over the world have taken place since 1976. Since the 1970’s, Lilo Kinne was working as an artist, traveled extensively and lived within countries such as France, Germany, India, Nepal, Burma, Thailand, Japan, Egypt, Greece, USA, and many other countries. In the ART SPACEs in the different countries, art exhibitions & art events, with MULTIDIMENSIONAL ART PERFORMANCES were held during opening receptions. Lilo Kinne’s works of art are in private, corporate, and public collections all over the world, since she travels extensively, and is of an extremely cosmopolitan spirit. Being a well known contemporary artist, and the founder of Multidimensional Art, Lilo Kinne is part of the international art scene. Her strong and very colorful paintings, photographs, as well as her videos (which show her speaking extemporaneously about the human existence and performing integrating dance & theater as well as the Transcendence of Matter Project), are part of major international collections in Europe, Japan, and the USA. Working in cooperation with young international artists, she is known for an intriguing and dynamic use of colors and materials in her paintings and sculptures, as well as words and free expression in her video films, multi-media installations, and art performances.
Part 3.
3a. Names and email addresses of Founders, Board Members, Directors or other key individuals:: 
Lilo Kinne
3b. Could any of these individuals assist in providing an oral history of your organization?: 
Part 4.
4a. Is organization currently active?: 
4b. Year activity suspended if no longer active.: 
Organization Still Active
Part 5.
5a. Type of organization at its founding.: 
Collective / Unincorporated Association
Part 6.
6a. Does the organization have an archive?: 
6b. Are there any short or long-term threats to the organization?: 
End of lease for your space resulting in termination of activities or changing of priorities
6c. Other threats to the organization:: 
Since more then 30 years, I have financed the ART SPACE’s and have done my best to keep them alive to have as many artists of different disciplines benefit from its activities. I am now 55 years old and feel that there is a need of some kind of support. Tens of thousands of artists from all over the world were in contact with me throughout the past more then 30 years. I have kept most of the names, addresses and phone numbers of those individuals on file. Within the time frame of 30 years, I have created an enormous network of artistic people from all over the world, having also traveled extensively worldwide. I have a need for cataloguing my data, since one of my hardrives’ partitions can not be read any more and the data of years will need to be introduced once more into a system. Urgently, I will need help in form of people who will be able to work with me on this project of saving valuable data from many years, which would otherwise be lost.
Part 7.
Additionally to lack of staff, I also worry about the technical support for safe guarding the collected data from the past 30 years.
7a. How important is to the organization to preserve the organization’s historical material. From 1 – Very Important to 5 – Not Important.: 
1. Very Important
7b. Has planning for the preservation and documentation of archive begun?: 
7c. Does the organization know how and where to seek expertise and assistance?: 
7d. Does the organization have specific concerns regarding starting an archive working with its historic materials?: 
Technical Support / Expertise
Part 8.
8a. Is the organization's archives in the collection of another institution or promised to one?: 
8a. Location: 
IF YES to 8: University (Name)
8b. Archival materials are also located at:: 
Where are these locations?: 
Where are these locations? [I.E. Home / Office of Private Individual(s) (i.e. Former Board, Staff, Funders, etc)]
Part 9.
9. Does the organization maintain archives for any other organization.: 
IF YES to 9: 10a. Please describe:
Part 10a.
10a. Is the archive accessible to scholars, curators or researchers?: 
Part 10d.
10d. Would you allow access in the future?: 
Part 10e.
10e. Under what circumstances would access to archives be allowed.: 
I am very open to cooperations with different national and international organizations.
Part 11.
The following questions address the historical materials (type, quantity and storage) of the organization. 11a. Paper Files and Documents: 
Artist Files
Exhibition or Production Files
Other Paper Files
11b. Artwork and Documentation: 
Audiotapes [Any Format]
Oral History, Recordings and / or Transcripts
CDs / DVDs [Pre-Recorded or CD-R / CD-RW / DVD-R / etc.]
Other Digital Materials
Prints / Lithographs / Etchings / Screenprints / etc.
Unique Art Objects
Other Artwork
11c. Press and Promotional Materials: 
Announcements, Mailing Cards, etc.
Newspaper / Magazine / Media Clippings
Posters / Flyers
Other Press or Promotional Materials:
11d. Printed Publications: 
Artists' Publications
Programs of Events
Publication or Merchandise Catalogues
Other Printed Publications
Part 12.
12. What years does the materials cover?: 
Part 13.
13a. How is the material stored?: 
Other Boxes
File Cabinets
Three-Ring Binders
13b. Are some or all of these storage units “archival”?: 
Part 14.
14a. Estimated Number of Boxes or Milk-Crate Sized Storage Units: 
14b. Estimated Number of Archive Drawers: 
14c. Estimated Number of Archive Notebooks: 
14d. Estimated the total Linear Feet. ["Linear Feet" is standard measure of the quantity of archival materials on the basis of shelf space occupied or the length of drawers in vertical files or the thickness of horizontally filed materials. For example, a: 
I can’t access the material to determine this
Part 15.
15. Is the historical materials - or archives - inventoried or catalogued in any way, either formally or otherwise?: 
Part 16.
16a. Is there a key, index or finding aid to the materials inventoried?: 
16b. Paper-based:: 
Written or Typewritten Inventories
16c. Electronic Based:: 
Word Processing Document [i.e. Word]
Part 16 / Electronic Files & Archival Management
16f. Does the organization have a back-up program, or back-up schedule, for its electronic records and perform monitoring of its removable media (i.e. floppies, ZIP disks, CD-ROMs, DVDs, portable hard drives, etc.)?: 
16g. Who is responsible for working with the archival material?: 
Other - Please describe below.
Please describe: 
I am overwhelmed with this task right now and will have to catch up.
Part 17.
17. How are new materials processed?: 
Manual System (Card File, File Folders)
Part 18.
18. What, if any, conservation methods are in place for both physical materials and electronic data?: 
None or Limited
Part 19.
19. What type of climate-controls are present in the area[s] in which the archives are stored?: 
No or minimal climate controls [i.e. in an attic, basement, unheated / uncooled storage area, etc.]
Part 20.
20a. What are the goals for the historical materials for the next year?: 
continue archiving
20b. What are the biggest challenges to reaching these short-term goals?: 
extensive materials to archive
20c. What goals are in place for the historical materials for the next three to five years?: 
have everything in place so that one can retrieve data easily
20d. What are the biggest challenges to reaching these long term goals?: 
20e. Are there any additional goals for the organizations historic materials?: 
exhibit them internationally
Part 21.
21. Estimated cost to achieve these archival goals for the next year.: 
$35,001 - $40,000
Part 22.
22. Estimated cost to achieve these archival goals for the next five years.: 
$150,001 - $200,000
Part 24.
24. What archival issues could / should visual arts organizations address collectively in the next three to five years? Ranked from 1 (highest priority) to 5 (lowest priority).24a. Shared standards / protocols for digitization: 
Promote professional standards / protocols for digitization
Part 25.
25a. Is the organization a member of, or in contact with, any organizations concerned with archival issues?: 
Who executed this survey.: 
Lilo Kinne, Founder & Director of ART SPACE-NEW YORK
Is this survey complete and all appropriate questions answered?: