Statistics

Overview

The pie-chart lists the number of all our activities we organised, hosted, or participated in, and the books we have published or co-published. NeMe's interest in theory is reflected in the number of seminars we have presented.

Time chart

The time chart of the activities we organised, hosted or participated in, is a companion to the pie-chart above. Following a slow start, there is a visible increase of activities, and publications.

Activities time chart

The timeline chart lists all of our activities, (without the publications). On March 18, 2013 there was a bail-in by the banks in Cyprus. Although one of our projects was approved the year before, we had no other funded activities on that year. The fourth quarter of 2014 saw the opening of our own venue, the NeMe Arts Centre with the It's the Political Economy, Stupid programme. A spike is visible in 2017 because of our Respublika! programme, which has then been followed by a sharp dive in 2019-21 due of the government imposed restrictions during the Covid-19 pandemic, and a recovery the year after.

Publications

A time chart of all publications we have had a substantial contribution, ^{1 Includes the number of books published by others and feature our activities.} published or co-published, as well as other publications that mention NeMe or our projects, and those that cite our content. Note that it takes 2-4 years to get more precise numbers of the publications that cite or mention our content. This means that our list is incomplete from 2021 to today.

People

NeMe would not exist without the artists, curators, theorists, and historians who take part in our projects the names of whom are listed in our links page.

The number of people ^{2 Includes the number of people in artists groups who work collaboratively.} who participated in projects we organised, projects NeMe has participated in ^{3 Includes the number of artists, curators, or evaluators NeMe was represented by.} or hosted per year. The spike in 2018 was due to our largest project to date, In Transition Russia, which we co-organised with the National Centres for Contemporary Arts, Ekaterinburg and Moscow, and the Ural State University, Ekaterinburg, Russia.

Gender

Through the years, we have been particularly careful to maintain a gender balance, but we are working to improve it further.

Website

Admittedly, not everything we do has an upward trend. The chart below, which lists our website posts/year since 2005 reveals that one of our major interests was to create a site where artists would get information about critical theory, forthcoming major exhibitions, and international calls.

This web-based focus has sharply declined from 2014, the year of the opening of the NeMe Arts Centre, which forced us to work on creating a physical identity, developing a programme, and attracting local audiences. This was also coupled with the creation of our social media accounts, first on Twitter, then on Facebook, followed by others, as local audiences, aligned to an international trend started using social media as their one and only web destination.

Comparing this chart with the Time and the Activities Time charts above, provide an insight to our shift. Our site however, is still important for us because it is the main repository of our work.

So, although we have indeed significantly reduced the number of articles, calls, and arts information we publish, we have not stopped working on keeping our site up to date with legal (GDPR), and web standards, as well as also starting the translation of our existing published texts to Greek, a task which will take us some time to complete.