We’re all living on the web now. We talk through texts, we speak to each other via phone and we follow our friends and enemies on Instagram, so we know what holiday locations to pick next. The state of the contemporary man and woman is always connected, always plugged into the ether that is the collective consciousness of man.

But while online open calls and other mediums for finding exhibitions have seen an enormous boom in the past years, many of us might also know that having an exhibition a month in a foreign country may sound nice, but doesn’t actually do as much as one would expect.

What I mean by this is that it is easier than ever to get an exhibition as an artist. This is a fact. Anyone who can’t get even a small group show somewhere in their country or even abroad will be in for a surprise when our steady-growing economy starts to falter and even more small gallery spaces close shop (by the way, a lot of them are, but more on this another time).

Today’s point though isn’t about how to get your online open call application accepted, but that the truth is; they might sound nice, they might look awesome on your social media feed and you may find the most wonderful people on your journey, but the majority of such exhibitions don’t do much for your professional career. At least not, if your end goal is to get signed by a gallery.

While the do-it-ourself approach to exhibitions is amazing; artist-lead spaces are awesome spots to meet new people and to get your art out there, most such places are never visited by gallerists of the medium to large calibre galleries. Even the smaller ones I know rarely go to such spots, but it may be different where you live.

And yes, I do believe sometimes it has to do with the fact that many a gallerist is inclined to believe such spots, where the experimental side of contemporary art is produced and exhibited, are beneath them. But more likely, they just don’t have the time to go to every spot in town — to be fair, many are great and grounded people that will talk to you even if you are a nobody.

The biggest tip I find might help out a lot — it did help me immensely — is to decide what path you’re going to take and hold the rudder steady. If you are aiming for galleries, especially the tough and rocky road leading up to the secondary market, with agents and Kenzo ties galore, you might want to really get connected with the folks that are the gatekeepers of that world.

The gallery intern, the other artist that already got signed by the gallery you’d like to become a part of; more or less anyone that can get you a 5 minute mingle with the owner or decision maker. 

Attend exhibition openings, get over any anxiety you might have towards crowds of arty people (never forget, most of them are probably as anxious as you and nobody wants to be the ice breaker). And don’t just go out and stand there.

I’m immensely awkward when talking to new people too, but I know they’re forgiving if you get engaged in an interesting conversation or compliment their attire. And many of us also forget a lot that happens at opening — free drinks and all — so blunder away!

Hint:

Worst case, you have the “I am an artist” card you can play. Works exceptionally well when paired with the words “subversive” and “juxtapose”, but you have to have to be holding something alcoholic in your hand, preferably a nice glass of free wine. Give it a try.