a-n Magazine

FEB 2005 £4.25 CRITICAL CONTEXTS / TALES OF TWO CITIES / MOTI ROTI PROFILE / OVER 130 JOBS AND OPPORTUNITIES ( 6.75) Artists’ events

“This event actively inspired, revealed and rejuvenated threads of solidarity amongst a provocative and resourceful group of peoples from varied physical and ideological geographies. It also revealed the still formative, transitory, and potentially transformative nature of artists’ networks in local, national and global contexts.” Sarah Jane Pell, participant in Quo Vadis, Networking artists’ network event, Bristol/Cardiff, November 2004

March 18-20 March 20-21 May Changing Rooms, Stirling Norwich New Greenham Park, Newbury Look out for details in next month’s issue of Critical space Close Proximity this artists’ event Residential weekend constructed to create a Organised by Helen Sloan (SCAN) and challenging yet supportive atmosphere in artist/curator Jonathan Swain, to look at the A Networking artists’ networks event which a team of experienced artists and changing identity of areas that lie in the organised in partnership with Changing facilitators led by artist curator John Beagles shadow of the ever-bulging ‘commuter belt’ Rooms, supported by generate a programme of activities that around London, and the effect this has on provoke and extend critical interchange artists’ practice. As the boundaries of amongst twelve artists from Suffolk and London expand further and further, Close twelve from elsewhere in the UK, giving Proximity explores the role of urban and participating artists a rare opportunity to economic development in the arts close to step back from making work and engage in the capital. intensive discussion. Saturday 5 March Artists and commentators interested to City Art Centre Edinburgh Organised as a partnership between Making submit ideas for papers and demonstrations art work and the Networking artists’ of work relevant to this theme should send Fast forward networks initiative. CV and proposal (one side A4) to Helen Sloan, SCAN, ArtSway, Station Road, Sway Professional and critical networking event Supported by SO41 6BA, Deadline 25 February. To discuss for recent visual art graduates, devised by the project further, contact Paul Moss, artist and co-founder of [email protected] or 01590 682824. Workplace, Newcastle upon Tyne, including presentations by artists and curators, If you participate as a speaker/artist your discussions and information pack. FULLY BOOKED BUT ASK FOR DETAILS IF YOU accommodation will be provided free and WOULD LIKE TO ATTEND A SIMILAR SESSION we will pay a small fee. Others wishing to Admission free but booking essential, contact 0131 650 2211 attend the event can do so for free, but [email protected] accommodation will not be provided. For further details or to book a place, contact Organised as a partnership between a-n The info@ scansite.org Artists Information Company, Talbot Rice and Cultural Enterprise Office. A Networking artists’ network event April 23/24 supported by Derby Fast Forward Professional and critical networking event Supported by for new and emerging artists, devised by Mark Gubb and chaired by Emilia Telese, If you would be interested to partner on or artist and Artists’ Networks Coordinator, a-n host future artists’ events contact The Artists Information Company. Artists’ Networking artists’ networks presentations and discussions information [email protected] / point to encourage professional exchange [email protected] (Scotland events) and development of networks. Fast forward Supported by [email protected]

Full details in the next issue of a-n Magazine. 5 812

22 26 28 a-n Magazine FEBRUARY 2005 Regulars Features

Editorial and subscriber prizes 4 Critical contexts 26 Artist’s story 5 Dominic Thomas on the importance of a critical context for artists’ practice. Time to travel: Vineta Kaulaca Tales of two cities: Brazil 28 Reviews 6 Luiz Camillo Osorio provides an insight into the political and cultural landscape of Rio de Janeiro and Ana Paula Cohen unravels a section of the vast megalopo- What’s on 10 lis of São Paulo in the first of this new series commissioned by Deborah Smith. Subscribe or renew 19 Great excursions 32 News 20 Alice Maude-Roxby on photographing Michael Stevenson’s Rakit. Networking artists’ networks 24 Now & then… 34 Edith-Marie Pasquier and Manick Govinda are engaged by the work of produc- Opportunities 38 tion company motiroti. Unique advertising and listings for UK and beyond Art vacancies 55 New on www.a-n.co.uk Employment opportunities Fees & payments Directory 56 Artists’ rates of pay 1989 – 2004. Susan Jones gives a historical overview of Listing of specialised services artists’ fees and payments a-n News 62 Quo vadis Updates and announcements on Specially commissioned by Chris Brown from the Quo Vadis NAN event, this new a-n people, partners and projects web writing includes introduction giving event background and intentions plus:

Phil Babot on the cross-border and international methods and achievements of a selection of artist-led initiatives in South Wales. Carolyn Black makes an inquiry into cultural identity and the nomadic artist. Paul Glinkowski questions the circumstances that lead to or explain cultural barriers, how such barriers can be breached or transformed into inviting thresh- olds to cross. Sarah Jane Pell’s Australian perspective on UK artists “directing their own cul- tural traffic initiatives’ and charting new territories towards cultural legacy and Cover: Emma Pratt, When Its Frosty He Likes To Lick sustainability”. Lamposts, mixed-media installation with lard, 2005. See ‘News’ page 23. Dominic Thomas on the importance of a critical context for artists’ practice. Editorial Subscriber prizes

Maintaining a critical context is a core ingredient in sus- taining an artist’s practice, as asserted in Dominic Thomas’ article published this month. He regrets the current culture of “avoidance of the core subject” in which professional development programmes are seemingly “unable or unwill- ing to tackle the issue of the actual products of an artist’s labours”. He exposes a “kind of unspoken rule… ‘I won’t say anything difficult about your work if you don’t say any- thing difficult about mine’” that is prevalent amongst artists’ groups and networks. Three copies of Changing States: Five signed copies of Bill So why is the artist’s product so often overlooked within Contemporary Art and Ideas in an Era Drummond’s How to be an artist those events and activities that are created specifically to of Globalisation to be won. to be won. support artists… and why do artists often suppress an hon- Featuring the work of over 100 artists “Don’t be fooled by the title of this est response to the work of their peers? As artists we share and writers, this unique anthology book. There is nothing between its experience of producing work and the vulnerability of self maps the changing landscape of covers that can, in any way, be contemporary art and culture over construed as a step-by-step guide to that can accompany that; so perhaps it is misplaced empa- the past decade in the context of being an artist of any kind… That thy for those feelings. But wouldn’t artists rather have criti- global economics and local politics. said, I challenge you to fully consume Seen through the prism of a decade this work and not realise that you cal feedback that offers a fresh perspective on new work, a of artistic programming by the already knew all there was to know perspective that’s lost in the focused build-up to the com- Institute of International Visual Arts about being an artist.” Bill Drummond pletion of a work? Artists themselves need to decide (inIVA), the book examines the most pressing issues that have driven See Andrea Mason’s review of whether it’s neutral strategic advice or constructive critical international contemporary art at the Bill Drummond’s performance feedback that they really need from professional develop- turn of the millennium. How to be an artist on page 9.

ment routes. “Changing States creates a poignant How to be an artist by Because a-n represents the diversity and complexity of visu- weave of eclectic and diverse Bill Drummond al arts practice across the UK, our activities provide a thought, which is easy to navigate ISBN 0-9541656-0-8 through and can be returned to when Distributed by Turnaround unique platform for artists to discuss, debate and assert wanting.” Edith-Marie Pasquier Price £15.00 their needs whatever these may be – everything from criti- See Edith-Marie Pasquier’s review of cal frameworks to enhanced rates of pay. Our strategic role To enter you must be a subscriber. Changing States on page 6. For more Send a postcard with your name as the UK’s representative body for artists and trusted information or to purchase a copy of and address, clearly stating which advisor to those that work with and for artists provides a the publication visit www.iniva.org or competition you are entering by telephone 020 7729 9616. 25 February to a-n Magazine, First vital interface with wider world to ensure that artists’ cur- Floor, 7-15 Pink Lane, Newcastle rent and future needs are positioned at the heart of visual Changing States: Contemporary Art upon Tyne NE1 5DW. Only one and Ideas in an Era of Globalisation arts policy and cultural development. entry per competition. Call ISBN 1-899846-40-9 +44 (0) 191 241 8000 to Published in the UK by inIVA subscribe and enter these Price £25.00 competitions. Gillian Nicol Editor Dominic Thomas’ article forms part of a new set of web-based This issue writing commissioned by Chris Brown for a-n and resulting from the Quo vadis NAN event in Bristol and Cardiff in November. and more at Other contributors include Phil Babot, Carolyn Black, www.a-n.co.uk Paul Glinkowski and Sarah Jane Pell. Read the full set at www.a-n.co.uk>About a-n>Networks>Quo vadis A text only version As the NAN initiative is all about facilitating exchange, dialogue of a-n can also and collaboration amongst artists, we welcome your responses to the Quo vadis debate. These and proposals for new contributions be viewed at should go to [email protected] www.a-n.co.uk

4 Editorial & subscriber prizes a-n Magazine February 2005 Vineta Kaulaca, Painting Installation (details), oil on canvas, 2004.

Time to travel Artist’s story: Vineta Kaulaca

My work is mostly about perception: the the world. My work aims to illustrate tion. I view travel as an experience of experience has been richly fermented way we look at the world, building up the ambiguity and relativity of percep- seeing and expanding knowledge, through studies in the USA and Ger- an image of the whole from different tion. dependent on individual viewpoint and many. It has helped me to put a per- fragments. Fragments based on our One of the most important areas cultural context. The distance and the spective on art processes at home. emotional relationships to, and intellec- for me in painting – a very time-con- time offered by the residencies and Being involved in art projects and tual experiences of, an image. We rely, suming process in itself – is the simul- workshops that I have recently been forums in the UK has laid new founda- unawares, on the role of time and taneous presence of reality and involved in are preconditions as well as tions for communicating with art in its distance in this process of seeing. I am imagination, which allows the paint- key turning points in my practice. Leav- greatest diversity. particularly interested in applying, to ing to be viewed as record or reposi- ing home, one sets a distance from the Vineta Kaulaca is an artist based in Riga, other media, my findings as a painter; tory of time. Painting examines the past, which later contributes to lessons Latvia. I am interested in the synergy between ordinary act of looking, extended about gaining freedom, discovering [email protected] [email protected] drawing, photography, cinematography through close scrutiny and yielding a one’s identity and playing with it in new She has recently shown Painting and installation. process somewhere between aligning contexts. Travel has also forged a new Installation at ‘Access’, Aspex Gallery, Taking photos is a way of taking memory and evoking presence. Time perspective on my experiences and Portsmouth as a result of a residency host- ed by ARC and Art Space Portsmouth organ- notes; it marks a point of reference for acts differently in photography, every helped to evaluate the knowledge I’ve ised in association with Braziers further exploration by other means. I photograph contains information of gained, contributing to my growth as a International Artists Workshop. She has taken part in Braziers International Artists use photos – capturing the elusive- that-which-has-been. person. Workshop, Triangle Artists Workshop New ness of a look and indicating pauses – A new constituent of my work is My personal artistic background has York and completed a residency at the Irish Museum of Modern Art in Dublin. to document the trajectory of the travel. Looking, as the first step of com- been shaped by the travel of my coun- Her work will be showing in Raid Projects, observing eye, cast around, meeting munication, helps to define one’s loca- try through major historical stages. My Los Angeles in March 2005. Reviews Providing a critical response to a diverse selection of artists’ activity across the UK. Chosen from press release material you send us, and links with artists’ networks, a-n commissions writers to sample and report back on what they thought. To find out more see ‘Join in’ on www.a-n.co.uk

CHANGING STATES: CONTEMPORARY ART AND IDEAS IN AND ERA OF GLOBALISATION

Published by inIVA

“inIVA is interested in a notion of a culture that goes beyond art and the limitations of race and at the same times addresses the difficulties for people who make work who are not from the dominant ideology.” Gilane Tawadros, editor Changing States.

In the preface to Changing States, Stu- art Hall observes that inIVA’s driving principle has been to create a site of exchange, ‘a sense of place’ for artists and critics alike whose works holds to an ethos of ‘vigorous dialogue and debate’. Hall alludes, also, to the ‘con- scripts of modernity’ and inIVA’s history within the fault line of ‘that deeply con- tradictory process of ‘globalisation’, which is transforming the world – and thus, inevitably, also the artwork and Yinka Shonibare, Diary of a Victorian Dandy, 21.00 the art world’. Hours, 1998. Courtesy: Stephen Friedman Gallery. Hall’s comments delineate the frame and context of this ambitious, charts multiple journeys: the program- ects and artists’ pages by leading cul- inhabit and redrawing the relationship intense and diversely satisfying publica- ming of exhibitions, discussions, publi- tural theorists and writers such as Jean of power and culture. Perhaps, tion. Given the ongoing debates around cations, education, multi-media, Fisher, Cocu Fosco, Deborah Levy, Stuart Tawadros’ underlying success with postmodernism as witnessed in theoret- performance, architecture, research and Hall, Eddie Chambers, David A Bailey, Changing States is allowing the reader ical reviews of political and economic debate. Changing States provides a cre- Hans Ulrich Obrist, Gavin Jantjes. Inci- to let art offer an adventure into the power structures, from global capital to ative and critical insight to the increas- dentally, the writing here is good: unknown, or an engagement with the east-west dynamics, as well as aestheti- ing volatile and pressing field of Fisher’s sardonic, incisive ‘Vampire in unfamiliar, in order to discover and dis- cal stock-taking of the euphoria that globalisation – as a locus for the inter- the Text’, and Levy’s witty fictional text seminate the different and the new. laced postmodern descriptions, it seems section of art, media, architecture, lan- are two of the many inclusions that Edith-Marie Pasquier is an artist and writer. the twenty-first century heralds its own guage and critical discourse. open rather than close debate. Artists For a chance to win a copy of Changing States: Contemporary Art and Ideas in and perspective by either fulfilling or skirt- To forefront the artists, critics and hold pages of their own including, Era of Globalisation, published by inIVA see ing the eradication of all the forms of themes that have animated the last ten amongst others, Yinka Shonibare, Alia Subscriber prizes on page 4. what used to be called idealism. years from Britain and across the world, Syed, Johannes Phokela, Simon Tegala, Regardless of whether postmodernism without forgetting the key legacy of ear- Chris Ofili, Sonia Boyce, David Medalla, has lived up to such pronouncements, lier cultural theorists and artists who and Shen Yuan. It begins to read like a some mark needs to be made to define have informed current contemporary Who’s Who and let’s not forget the the new century. arts practice, adds a rewarding depth to artists who are presented by work and InIVA’s anthology Changing States, reading. Tawadros has deftly presented written texts such as Keith Piper, Zineb published to mark ten years of inIVA’s the radical upheaval of global capitals Sedira and Nasreen Mohamedi. programme from 1994 to 2004, seems and artistic and cultural practice across Changing States creates a poignant to point in this direction. This sample wider terrains of political economic weave of eclectic and diverse thought, retrospective alludes to the vision of an space, repositioning the individual and which is easy to navigate through and organisation geared towards defining the artist within ever-shifting localities, can be returned to when wanting. As a and dissecting the dominant ideologies and made explicit in a publication that publication it responds to the uncertain that can be transgressed and crossed allows for new intersections or interven- dynamic of global movements and local within an era of globalisation. The pub- tions to occur. identities by setting aside a space for lication is ambitious primarily as it It includes articles, interviews, proj- rethinking the cultural practices we

6 Reviews a-n Magazine February 2005 HENNA NADEEM: TREES, mixing it deftly but sometimes awk- wardly, with tradition and history. Here WATER, ROCKS Nadeem combines Japanese, Moorish and Islamic motifs, together with natu- Piccadilly Circus Underground Station ral landscapes and wilderness from 11 October – 17 January around the world, with great success. Her work looks digitally produced, Returning from a research trip to India, but the collage is cut by hand. The I visited the Platform for Art exhibition handcrafted process of making these by Henna Nadeem at Piccadilly Circus works is revealed for the first time due Underground in the ticket hall and sta- to the scale of the works in this exhibi- tion. Nadeem designs swirling, stylised tion, some as long as six metres. Viewers stencil designs overlaid on vast photo- can see Nadeem’s careful scalpel cut- graphic images of landscapes. I saw her outs of the overlaid patterns. The land- work in the ‘Pattern Crazy’ show at the scapes have been enlarged to several Crafts Council in 2002, where it was times their original size making the smaller scale and influenced by Islamic viewer feel like stepping into some of designs and motifs collaged on top of the landscapes, such as her scene of various landscape and travel scenes. looking through a forest, part of a series ‘Trees, Water, Rocks’ is somewhat differ- in the ticket hall. This is one of the few ent. The title, playfully referring to the photographs that is not an aerial view game Rock Paper Scissors has varied and the result is a more intimate con- cultural references and iconography. In nection between viewer and landscape. these new works, the origin of these The floral cut-out collage superimposed designs are less clear, more muddied onto the scene seems to be a veil or cur- but rich with multicultural motifs and tain that could be brushed away to patterns. Nadeem explains she is allow a way in. This unconventional expanding her references to include location is a fitting place to exhibit images that she finds formally pleas- Nadeem’s work, in a place parallel to ing, with less emphasis on their geo- the ‘real’ streetscape above. Her work is graphic and cultural origin. In my surreal and multilayered, showing an studies and travels in modern India, I alternate yet inviting reality. find the culture embracing modern Terri Whitehead is a designer and writer design, technology and lifestyle and based in London. Henna Nadeem, Trees, Water, Rocks (installation view), 2004.

CLAIRE CURNEEN: more a commentary upon the futility of relinquishing a life for a cause, than SUCCOUR homage – a concern with both histori- cal and contemporary resonance. Mission Gallery, Swansea The figures bleed, their bodily fluid 13 November – 15 January inextricably bound by symbol and properties to the preciousness of gold, The Mission Gallery provides an evoca- seeping through the fine membrane of tive venue for Curneen’s ceramic fig- their skin. This equation of material to ures. Once a chapel for local subject matter is a significant aspect of fisherman, it still retains the curve of Curneen’s work. That the figures are the apse at the far end of the exhibi- constructed from porcelain also sug- tion space and reflects light through gests that they are too delicate, too the distinctive lancet arcs of the win- frail to be of mortal flesh, but rather dows onto interior walls. Against this ethereal, celestial beings. The only hint backdrop, Curneen’s series of martyred at any self-determination is given on saints enact their tragedies. occasions where the tips of their fin- The architectural features of the gers have been dipped in gold, demon- building, in serving to remind us of the strating that they have touched their figures’ iconography, draw attention to wounds, responded to their fate, and their physical, bodily predicament. where tears of transparent glaze have They are caught between life and made their painted eyes run a little death. Though fatally wounded – St down their cheeks. Curneen has Sebastian by arrows and St Catherine achieved a fusion rare in figurative by the wheel – they remain standing, sculpture, that of technical skill, aes- pious, staring ahead in calm resigna- thetic sensibility and humanity. tion. This contradiction is so often Dr Natasha Mayo is a practitioner, free- lance writer and lecturer in ceramics at depicted in religious imagery and yet University of Wales Institute, Cardiff. the title of the exhibition, ‘Succour’, appears to question their surrender, its Claire Curneen, Catherine and her meaning: [n] assistance in time of diffi- Wheel (detail), height 69cm, 2003. culty, [v] help in a difficult situation, Photo: Dewi Tannatt Lloyd Above: Below: Lois Wallace, Academy (Aston Villa), acrylic on Isabel Cuadrado, A favor de la corriente, acrylic board, 20x15cm. and light on canvas, 114x146cm, 2003.

SPACE boxes, and depth is created through the physicality of the illuminated light MAC Gallery, Birmingham and its placement between the canvas 13 November – 2 January and wood structures. In Ruth Spencer’s paintings, which ‘Space’, previously hosted at Museo are devoid of human presence, we are Barjola in Gijon, is now sited in most of presented with the issue of public envi- MAC’s exhibition and public interior. ronment as anonymous space, while Comprising of six female artists, this Gema Ramos’ representational draw- exhibition examines their varying inter- ings of shoes portray the possibility of pretations of, and responses to, the physical space, making us conscious of notion of space. the very gap in which our bodies, and Lois Wallace explores atmospheric particularly our feet, inhabit. space through her photographic paint- Throughout this exhibition ‘space’ ings. With ambient lighting as a as a ubiquitous theme is presented for source, she displays small canvases the most part as physical and illusory with titles such as Rest, Silence, Filter representations. At moments there and Home. These titles imply how we does emerge some direct engagement should engage with these paintings, or cross-over between the work and the although we are presented with environment, as in Maria G Gwynne’s generic settings, which could be any- sculptural installation Language and where. For Isabel Cuadrado the space space: on the shelf where cut-outs, created through the deliberate action lighting and reflection are employed to of perforated canvases is evocative of create a new architectural imperma- cosmological space and night skies. nence on the gallery wall. Overall, Her use of canvas, paint and fluores- however, this is a safe exhibition, pre- cent tubing is reminiscent of Lucio sented in a traditional hang, which Fontana’s ‘spatialisms’ of the 1940s could have gone further in critically and 1950s. Unlike Fontana’s quest to examining the issues and possibilities delve through the exterior of the pic- of this particular gallery space. ture plane to the surface of the gallery Mona Casey is an artist and co-director of wall, Cuadrado’s pieces are contained Colony in Birmingham.

8 Reviews a-n Magazine February 2005 Bill Drummond, images from How to be an artist, published by The Penkiln Burn, 2002.

BILL DRUMMOND: second canvas, ‘To A Smell Of Money reactive moment to another and culmi- the room and give your dollar to Drum- Underground’, on an easel to our right. nated in Drummond drawing a grid mond. He cuts out the relevant rectan- HOW TO BE AN ARTIST He then took us on a journey, explain- across his Richard Long photograph, gle. A third canvas is gridded to match Outpost, Norwich ing how he’d arrived at the statement From A Smell Of Sulphur In The Wind, the Richard Long photograph. Helper on the right from the statement on the cutting out the first rectangle with a two finds your co-ordinates and offers 1-2, 7-8 December left. This involved fish suppers, Iceland, Stanley knife blade and eating it. a paintbrush with black or yellow At 3.10 this morning the revelation his sister, failure, Richard Long, pride, The piece is a sales pitch: Drum- paint. Eventually this canvas will read came, fully formed, that what was miss- revenge, the replacement of a Long mond wants to sell each rectangle to ‘SOLD’. There was a queue, I only had ing from Bill Drummond’s performance stone, thoughts of suicide, pacing, 20,000 people for a dollar each (it a chequebook, I had to get back to my ‘How To Be An Artist’ was a sense of joy. sheep, a beautiful view (a glimmer of cost him $20,000). Helper one babysitter. Here’s what happened. The artist put joy?), an idea to bury a lot of money, un- exchanges 75p with you for a dollar. Andrea Mason is an artist and writer based on a single record, placed a canvas kept promises, For Sale signs, a carpet, a You choose co-ordinates painted on in Norwich. For a chance to win a copy of How to be an which read ‘From A Smell Of Sulphur In drive from Southampton to Scotland. tiny oak blocks from gym bag Up and artist by Bill Drummond see Subscriber The Wind’ on an easel to our left, then a These activities ricocheted from one gym bag Down. You then move across prizes on page 4.

SEEMA RAO: STOP number of people, sometimes inadver- tently, have a good view of the exhibi- Spital Square, London tion. 3 December – 30 January Rao has almost single-handedly climbed round the large space and cov- This site-specific installation is Seema ered the windows, walls, floors and pil- Rao’s response to how we receive lars with yards and yards of neon instruction from public signs in an yellow tape. This is the neon of con- urban environment. It is set in a con- struction workers’ jackets, cyclists’ coats, crete space in Spitalfields, an area police tape, and other urgent safety between the busy financial district and signs. It really shines in the winter light. the busy ‘historical’ East End. The space The tape seems like a trail of map con- itself has windows for walls, floor to tour lines, a made-up map directed by ceiling that look out onto Elders Fields, the physicality of the building. The a small city garden sanctuary and foot- overall mass and execution of these path surrounded by swish apartments handmade trails are a playful depar- and office blocks. When illuminated by ture from a force of official control. If the afternoon’s electric lights, a large close up, you can read a selection of black stencilled instructions, from ‘Do Not Stand’ to ‘Do Not Cry’, the latter intriguingly suggesting emotional restraint. However these words become somewhat overwhelmed by physical display as a whole. This installation speaks of conflict with authority. The site itself, its hectic surroundings, the human thoroughfare, and implications of the word ‘STOP’ vis- ible to eyes close up, denote ‘stop and think’. And for each passer-by that will be a very personal address. Here and why? Lisa Wigham is an artist based in London. Seema Rao, STOP, installation, 2004. To advertise in What’s on Contact the Communications What’s on and Sales team on +44 (0) 191 241 8000 A paid-for listing of exhibitions and events across the UK with F: +44 (0) 191 241 8001 previews interspersed throughout giving a taster of what’s on. [email protected] To find out more see ‘Join in’ on www.a-n.co.uk Deadline: 7 Feb for listings 8 Feb for display ads

Aberdeen Birmingham

Peacock Visual Arts 21 Castle Street, AB11 5BQ. 01224 639539 www.peacockvisualarts.co.uk Tues-Sat 9.30-5.30 5 Feb - 12 Mar: ‘Stop, Look, Listen - An Evolving Exhibition’, Ziggy Campbell, Kev PUBLIC ART – REGENERATION, Sim, Tommy Perman are Found, DIVERSITY & ENGAGEMENT developing their work in relation to local Think Tank, Millennium Point, Birmingham 15th March 2005 environments. 23 Feb, 7.30pm: Bill A one day event for those engaged in the Thompson vs Found - live electronics. commissioning, production and mediation of public art and the built environment, in order to explore current practice in the context of Abergavenny regeneration, engagement and diversity.

The Art Shop Further information and booking form: 8 Cross Street, NP7 5EH. 01873 852690 www.ixia-info.com Tues-Sat 9.15-5.30 Contact gallery for details

Accrington Ikon Gallery 1 Oozells Square, Brindleyplace, B1 2HS. 0121 248 0708. www.ikon-gallery.co.uk Haworth Art Gallery Tues-Sun 11-6; Open BH Mons Haworth Park, Manchester Road, BB5 1 Feb - 28 Mar: ‘Where the stars are 2JS: 01254 233782. coming one span closer’, Giovanni www.hyndburnbc.gov.uk Anselmo, including a new installation. Wed-Fri 2-5; Sat & Sun 12-4.30 ‘The Nightingale’, Grace Ndiritu, video Until 6 Feb: ‘Big Shimmer Thrust’, Lisa piece exploring issues of racial Ashcroft. Until 13 Feb: ‘Alphabet’, Peter stereotyping. Blake with free guided tours and art activities. RBSA Gallery 4 Brook Street, St Paul’s, B3 1SA. 0121 236 4353. www.rbsa.org.uk Basingstoke Mon-Wed, Fri 10.30-5.30; Thurs 10.30-7; Sat 10.30-5 Fairfields Arts Centre 2-12 Feb: ‘RBSA Friends’, work by Friends Council Road, RG21 3DH. 01256 of the RBSA. 4-28 Feb: ‘Freeze’, studio 321621 www.fairfields.org ceramics, glass and jewellery featuring Mon-Wed 9.30-5.30; Thurs 9.30-3.30; Fri work by Ashi Marwaha’s and Bill and by appointment; Sat 10-1 Elizabeth Wright, Norwich Jackie McNeill. 14 Feb - 12 Mar: ‘New Until 12 Feb: Brenda Perkins, retrospective Lido, photograph, 2004. Horizons’, fine art students from Midlands exhibition of landscape paintings. universities.

Bath The Window Elizabeth Wright: Norwich Lido Arcade, off the High Street, City Centre B1. 0121 643 6040. Hotbath Gallery [email protected] City of Bath College, Hotbath Wysing Arts, Bourn, Cambridgeshire Daily 9-6 Street/Beau Street, BA1 1UP. 01225 12 February – 24 March ’The Window’ is a Birmingham Artists 328673. www.hotbathgallery.co.uk A diving board from a 1930s designed lido is proudly preserved for pos- project. Curated by Ian Skoyles and Mon-Fri 9-4.45; Sat 10-4 terity in the Wyvale Garden Centre, Croydon, and another Lido has Pamina Stewart. Contact gallery for details become a magistrates court. Elizabeth Wright has a one-year residency Bradford Bedford partly based with Wysing but also in partnership with the Tyndall Centre for Climate Change Research and the Norwich Gallery, where she links Gallery II BCA Gallery architectural change, global warming and social behaviour. Redundant University of Bradford, Chesham 33 Castle Lane, MK40 3XD. 01234 open-air lidos of the 1950s and 60s are re-designed as architectural site Building, Great Horton Road, BD7 1DP. 273580. www.bedfordcreativearts.com plans at Wysing Gallery (perfect for a signage swimming pool metamor- 01274 235495. www.bradford.ac.uk/gallery Tues-Sat 11-5 phosis) with nine signage pools planned in open-air venues around the Mon-Wed 11-5; Thurs 11-6 Until 19 Feb: ‘Rush Hour’, Martin Newth, city of Norwich in the summer. Wysing accommodates over twenty artists Until 25 Feb: ‘Exploration of Watercolour’, extraordinary series of images taken with studio spaces and has plans for development in the near future. Ron Sims Deborah Lawson, inspired by forms hour-long exposure times reducing the For more information see advert on page 11 or visit www.wysingarts.org created by nature, constructed by people relentless movement of thousands of cars or purely by the properties of watercolour and people to a faint blur. on paper.

10 What’s on a-n Magazine February 2005 Bridport New Hall Cambridge University, CB3 0DF. 01223 Bridport Arts Centre 762227. www.newhall.cam.ac.uk South Street, DT6 3NR. 01308 424204 Daily 10-5 6 Feb - 6 Mar: ‘Light + Line’, Lesley Davy, www.bridport-arts.com light sculptures and prints. Private view 6 Tues-Sat 10-4 Feb, 2-4. 29 Jan - 26 Feb: Kit Glaisyer, first major exhibition of new oil paintings exploring Taxi Gallery the process of creating reality from our 38 Stanesfield Road, CB5 8NH. 01223 dreams. 576017. www.taxigallery.org.uk Opening times vary 29 Jan - 5 Mar: ‘38 Stanesfield Road: The Brighton Mooring of Richard Anynumber’, a site- sensitive digital installation by Mark George Street Gallery Jeffery and Judd Morrissey with Nathan 4 George Street, BN2 1RH. 01273 Butler and Lori Talley. 681852 Tues-Fri 10-5; Sat 10-4 Cardiff 1-26 Feb: ‘Fetichegrams: Intimate Joys’, Steve DT. Erotic photography featuring the Howard Gardens Gallery School of Art & Design, Howard Gardens manipulation of sex toys in imaginary Campus, Howard Gardens, CF24 0SP. surroundings, whilst evoking the era of the 029 2041 6600 playful surrealists. Mon-Thurs 9-8; Fri-Sat 9-5 Until 17 Feb: Heather Parnell, Mick Petts, IO Gallery Nigel Talbot, artists in residence and in Brighton Designers and Makers, 39 transit. 12 Feb: exhibition conference, Sydney Street, BN1 4EP. 01273 671212 write for details. 24 Feb - 17 Mar: Keiko Aoyogi, installation. Frank Watkins, small www.lumicube.com/iogallery Mary Martin, White Diagonal, stainless steel, objects. Mon-Sat 10-6; Sun 11-5 formica, wood, 85x85x11.4cm, 1963. 2-27 Feb: ‘Valentine Exhibition’, Gemma Courtesy: The Estate of Mary Martin; Annely Juda Fine Art, London. g39 Rees, small work incorporating painting 39 Wyndham Arcade, Mill Lane, CF10 techniques, computer images and collage. 1FH. 029 2025 5541 www.g39.org Contact venue for opening times Phoenix Gallery Mary Martin: The End is 5-27 Feb: ‘One Night Stand’. In the 10-14 Waterloo Place, BN2 9NB: 01273 Always to Achieve Simplicity evenings the street-level window becomes 603700. www.phoenixarts.org a two-way proscenium arch framing artists whose practice engages with the public. Tues-Sat 11-5 Kettle’s Yard, Cambridge With Samuel Hasler, Paul Hurley, Rebeca Until 5 Mar: ‘The Happy Accident’, Until 27 February Spooner, Richard Bevan and others. painting and drawing installation by Jeb Haward, mixed-media work by Kally Notions of simplicity, order, a concern for the unfolding and evolving form Carlisle Laurence, beaded sculptures by Nicola and the work’s affinities with modern architecture make Mary Martin (1907- Mann and ephemeral drawings and 1969) the perfect artist for Kettle’s Yard. As one of the most distinguished Tullie House Museum & Art Gallery and influential artists of the English Constructivist group of the 1950s and Castle Street, CA3 8TP. 01228 534781. sculpture by Kate Walters. www.tulliehouse.co.uk 60s, her geometrical paintings, sculptures, reliefs and drawings explore Mon-Sat 10-5; Sun 12-5 Bristol colour, line and form as basic formal elements. The first major exhibition of Until 27 Feb: ‘Bad Behaviour’, charting a her work in twenty years, organised by the Culture Company, draws together subversive streak in contemporary art, here a selection of early paintings, and traces her move to abstraction (including presenting sculpture, installation, 108 Stokes Croft, BS1 3RU. 0117 942 her first reliefs and structures), and later perspex abstract reliefs. RS photography and video from the 1980s to 2222. www.thingsfromhere.co.uk For more information see listing on this page or visit www.kettlesyard.co.uk the present day. Including work by Tues-Sun 12.30-6.30 or by appointment Grayson Perry and Jeremy Deller. Until 18 Feb: ‘Stitch or Swallow - naughty Carmarthen needles/sinister stitches’. Eight female Bury St Edmunds Simpson and Pamela So. artists give traditional needlecraft a biting Oriel Myrddin Gallery contemporary edge with their subversive Bury St Edmunds Art Gallery Cambridge Church Lane, SA31 1LH. 01267 222775 subject matter. Includes Jenny Hart, The Market Cross, Cornhill, IP33 1BT. Mon-Sat 10-5; closed BH Allyson Mitchell and Whitney Lee. 01284 762081. Kettle’s Yard Until 19 Feb: Robert Jackson, Sarah Lees, www.burystedmundsartgallery.org Castle Street, CB3 0AQ. 01223 352124. Osi Rhys Osmond and David Tress reveal Mon-Sat 10-5 www.kettlesyard.co.uk differing responses to the materials and Burton-on-Trent Until 26 Feb: ‘Self’, jewellery, photography Tues-Sun 11.30-5 methods of drawing. and installation with Barby Asante, Jivan Until 27 Feb: Mary Martin, ‘the end is Gallery dna Astfalck, Ari Athans, Roseanne Bartley, Colchester 25 The Bridge, DE14 1SY. 01283 510 Dinie Besems, Clement Cooper, Martin always to achieve simplicity’. Elisabeth 000. www.gallerydna.com Figura, Patricio Forrester, Karl Fritsch, Ken Vellacott, rock and mountain drawings, a Firstsite Contact gallery for details Ohara, Gerd Rothmann, Joyce Scott, Lorna centenary celebration. at the Minories Art Gallery, 74 High

Exhibition 12 February to 24 March Mon-Fri 10am to 5pm; Sat 11.30am to 5pm norwich lido Fox Road, Bourn Private View Saturday 12 February 3pm to 5pm Cambridgeshire CB3 7TX 01954 718881 elizabeth wright A collaboration between Wysing Arts,Tyndall Centre for Climate [email protected] Change Research and Norwich Gallery. In addition to this exhibition at Wysing Arts, Elizabeth Wright will produce site- www.wysingarts.org specific work for Norwich Town Centre during the summer of 2005. Charity number 1039555 Street, CO1 1UE. 01206 577067. Mon-Sat 10-5 www.firstsite.uk.net Until 12 Mar: ‘ShowCASe: Contemporary Mon-Sat 10-5 incl BH, excl Christmas & Art for the UK’, hosted by the City Art New Year Centre and the Talbot Rice Gallery, Until 26 Feb: ‘Interior View’, the only UK features over 150 works of contemporary venue for this international exhibition of fine art and craft acquired by the paintings, drawings, sculptures, Contemporary Art Society. installations and photographs influenced by architecture. Eleven artists reflect the Fruitmarket Gallery 45 Market Street, EH1 1DF. 0131 225 social and cultural significance of 2383. www.fruitmarket.co.uk architecture. 11 Dec - 13 Feb: Ellen Gallagher. Artist’s talk Sat 11 Dec, 2pm. Free. Hay Gallery School of Art & Design, Sheepen Road, CO3 3LL. 01206 518141 Ely Mon-Fri 10-4 Until 3 Feb: ‘Drawing: Investigation, Babylon Gallery Imagination, Process’, works by Joanna Babylon Bridge, Waterside, CB7 4AU. Chapman, Ian May, Maria Meadows. 11 01353 616993. Feb - 3 Mar: ‘2D/3D Visual Studies’, www.babylongallery.co.uk Tues-Sat 10-4; Sun & BH 11-5; closed works by C.S.A.D. staff and students. Mon Compton Verney Until 13 Feb: ‘Translation 2’, Jo Berry, Clare Goodwin, Gordon, 30x36cm, evocative and inspirational ‘light box acrylic on canvas, 2004. drawings’. 19 Feb - 20 Mar: ‘Shape Compton Verney House Trust Changer’, Robert Worby, sound CV35 9HZ. 01926 645500. installation using elements of the ancient www.comptonverney.org.uk Viking tale ‘Egil’s Saga’. Nov-Feb: Open to pre-booked groups only. Interior View Permanent collections: Naples 1600-1800, Exeter German 1450-1650, British Portraits, Firstsite at the Minories Art Gallery, Colchester Chinese Bronzes and Artifacts, British Folk Devon Guild of Craftsmen Art and The Marx-Lambert Collection of Until 26 February Riverside Mill, Fore Street, Bovey Tracey, Popular Art. 2005 exhibition programme TQ13 9AF. 01626 832223. Prison cell and cathedral interior blend in an intriguing response to inter- launches in March. www.crafts.org.uk national architecture from Catherine Yass in Cell, Corridor a, where a neg- Daily 10-5.30 Coventry ative/positive image combines in a vividly coloured photo light box. Until 27 Feb: ‘Get Fresh2’, emerging Eleven artists, who draw on architectural practice as inspiration, present designer-makers from throughout the Herbert Art Gallery & Museum sculpture, paintings, drawings, photos and installation, independently South West working across the range of Jordan Well, CV1 5QP. 024 7683 2386. craft disciplines. 10 Feb: Professional curated by Felicity Lunn in partnership with Firstsite, De Zonnehof in Development evening. www.coventrymuseum.org.uk Amersfoort and Kunsthalle in Fribourg. Soyuz TM (Dreamtime Series) a Mon-Sat 10-5.30; Sun 12-5 large C-type print on aluminium under perspex by Jane and Louise Wil- Until 13 Mar: ‘Save or Delete’, some of the Spacex Gallery 45 Preston Street, EX1 1DF. 01392 UKs best illustrators enlisted by son, explores the ritual of rocket launching and an absent political regime in the disused Russian rocket factory. 431786. www.spacex.co.uk Greenpeace to highlight the devastation Tues-Sat 10-5 of illegal logging in Indonesia and create Abstractions of steel and glass in large blurred oil paintings, are gleaned Until 19 Feb: ‘Computing 101B’, artist-duo a response to the destruction of the from the internet by Pascal Danz. Reflection/Barcelona Pavilion (origi- JODI are inspired by the very things we Indonesian rainforest. nally designed by Mies van der Rohe) has added plants and highlighted hate about computers. Includes the transparent surfaces. RS masterpiece of computer art Darlington For more information see listing on page 11 or visit www.firstsite.uk.net ‘My%Desktop’ and new work ‘Max Payne Cheat’s Only Gallery’. Myles Meehan Gallery Darlington Arts Centre, Vane Terrace, Farnham DL3 7AX. 01325 348843. Dundee Edinburgh www.darlington-arts.co.uk Surrey Institute of Art & Design Mon-Sat 10-8; closed Sun Foyer Gallery/James Hockey Gallery, Cooper Gallery 11 Feb - 26 Mar: ‘In the Return’. Poet University College, Farnham Campus, Duncan of Jordanstone College of Art & Falkner Road, GU9 7DS. 01252 892668. Jacob Polley has been commissioned to The Design, University of Dundee, 13 Perth www.surrart.ac.uk/galleries respond to the Darlington Borough Art Road, DD1 4HT. 01382 345330. Fruitmarket Mon-Fri 10-5; Sat 10-4; closed Sun & BH Collection. He has selected 30 artworks www.exhibitions.dundee.ac.uk Gallery Contact gallery for details and written accompanying poetry for each Until 26 Feb: ‘Jerusalem Syndrome’, piece. Preview 10 Feb, 12-2; Gallery talk 1 Nathan Coley, an ongoing enquiry into Folkestone Mar, 1-2 (please book). place, identity and belief. For this Simon exhibition Nathan Coley travelled to Israel Metropole Galleries Derby to eplore the phenomenon of ‘Jerusalem The Leas, CT20 2LS. 01303 244706 Patterson www.metropole.org.uk Syndrome’. Q Gallery 26 February — 1 May 2005 Tues-Sun 10-5 35/36 Queen Street, DE1 3DS. 01332 Eastbourne Artist’s Talk Saturday 27 Feb, 2pm. Free Until 20 Feb: ‘History in the Making’, 295858 www.q-arts.co.uk Victor Mount, a retrospective. ‘New 45 Market St, Edinburgh EH1 1DF, Scotland Works’, Mark Wright. Curated by Peter Wed-Fri 12-4; Sat 10-4 Towner Art Gallery P +44 [0]131225 2383 Fillingham. Until 26 Feb: ‘Truth and Beauty’, exciting, High Street, Old Town, BN20 8BB. [email protected] www.fruitmarket.co.uk surprising work by contemporary artists 01323 417961 www.eastbourne.gov.uk Frome and state-of-the-art images from the Tues-Fri 12-4; Sat 11-4; Sun 2-5 2002 Biomedical Image Awards. A Until 6 Mar: ‘Nudes’, Ivon Hitchens, an Black Swan Arts collection from The Wellcome Trust opportunity to see the more private City Art Centre 2 Bridge Street, BA11 1BB. 01373 reflecting the symbiotic relationship aspects of Hichens’ practice. £3.50; £2.50 2 Market Street, EH1 1DE. 0131 529 473980 www.blackswan.org.uk between truth and beauty. concs. 3993. www.cac.org.uk Mon-Sat 10-5

12 What’s on a-n Magazine February 2005 Dinie Besems: Chalk Chain worn by Claartje Keur

Due South Art and the Antarctic by John Kelly Cheltenham Art Gallery & Museum Clarence Street Tel: 01242-237431 Monday – Saturday 10.00-5.20 First Thursday of each month open at 11.00 22 Jan – 5 March Admission free, donations welcome 2005 www.cheltenham.artgallery.museum

*** SMITHFIELD GALLERY *** Barby Asante Bury St Edmunds Specialists in unusual, difficult to find- Self Jivan Astfalck Art Gallery Woven & Knitted Metals, Papers and Fabrics Ari Athans  January – Fine Sheet Metals, Wires in all sizes and colours Exploring difference Roseanne Bartley  February  and Paverpol, the amazing sculpture medium and cultural identity Dinie Besems :   through jewellery Clement Cooper www.craftspace- We can visit your group with our mobile shop and photography Martin Figura touring.co.uk Patricio Forrester Send £5.00 for inspirational metal, paper OR fabric A Craftspace Karl Fritsch sample pack to: Smithfield Gallery, Unit 9 Lake Enterprise Touring exhibition Ken Ohara Park, Caton Road, Lancaster, LA1 3NX in partnership with Gerd Rothmann Angel Row Gallery Joyce Scott Mobile: 07989 552626 (direct) Tel: 01524 762 883 and Bury St Edmunds Lorna Simpson www.smithfieldgallery.co.uk Art Gallery Pamela So Until 12 Feb: ‘Elemental Insight’. 19 Feb - Tues-Sat 11-4 12 Mar: ‘Picasso’, an exhibition of 5 Feb - 5 Mar: ‘Warehouse on the Wash’, lithographs, etchings and engravings. Alison Hall, Christine Allman, Imogen Bardwell, Lynda Williams, Kevin Lee, Gateshead Sophie Marritt and Stephen Cross, painting, video, installation, sculptural The Gallery and photographic works drawn from the Gateshead Central Library, Prince Consort estuarial landscape of The Wash. 01603 Road, NE8 4LN. 0191 477 3478. 627140, [email protected] www.gateshead.gov.uk www.warehousearts.co.uk Mon-Fri 9-7; Wed 9-5; Sat 9-1; closed Sun Kingswinford Until 19 Feb: ‘Beyond the Angel’, photography exhibition by Damien Broadfield House Glass Museum Wootten. 25 Feb - 9 Apr: ‘Gateshead at Compton Drive, DY6 9NS. 01384 the Millennium’, paintings by Robert 812749. www.glassmuseum.org.uk Soden celebrating the architecture and Tues-Sun 12-4 sculpture which has transformed Until 8 May: ‘Glass Structures’, Harry Seager, Gateshead in recent years. sculptures spanning 40 years of Seager’s Norman Akroyd, January Sunrise – career. 5 Feb - 5 June: ‘Collectomania!’, Glasgow Ludlow-Dinham, etching 38x61cm, 2004. three glass collectors share their unusual collections and inspiration. Collins Gallery University of Strathclyde, 22 Richmond Street, G1 1XQ: 0141 548 2558. Kirkby www.collinsgallery.strath.ac.uk Norman Ackroyd: Journeys West and East Mon-Fri 10-5; Sat 12-4 Kirkby Gallery Newtown Gardens, L32 8RR. 0151 443 Until 12 Feb: ‘Helen Keller International North House Gallery, Manningtree 5617. Award’, contemporary art competition Until 12 March [email protected] concerning deafblindness originated by Mon & Fri 9.15-5; Tues & Thurs 9.15-7; Sense Scotland. Life and limb is risked on mountainous Atlantic seas and jagged rocks, to Sat 10-4; Sun 11-4 produce a suite of etchings and related watercolour paintings of the High 27 Jan - 27 Feb: ‘Spring’, 2D exhibition by Glasgow School of Art Islands off the coast of Connemara. Harsh lives of early Christian saints members of the local community with 167 Renfrew Street, G3 6RQ: 0141 353 4500. www.gsa.ac.uk and later settlements in isolated places, have inspired Ackroyd to describe learning difficulties, with the help of a Mon-Fri 10-7; Sat 10-2 the wild Atlantic backdrop against difficult lives, eked out over the cen- professional artist. The exhibition will Contact gallery for details turies. Enormous sand spits and treacherous shifting seabeds, pose an explore different mark making techniques using the theme Spring time as an insidious force from the North Sea. Brancaster Roads is a series of etch- Street Level Photoworks inspiration. 26 King Street, G1 5QP. 0141 552 ings named after the sea roads skirting the coast from Kings Lynn towards 2151. www.sl-photoworks.demon.co.uk London as salt marshes flood and drain with tides funnelling through Lee Valley Tues-Sat 10-5 creeks. RS 8 Feb - 5 Mar: ‘Multi-Story’, the result of a For more information visit www.northhousegallery.co.uk Gunpowder Park collaborative community arts project with The Field Station, Sewardstone Road, artists and asylum seekers in North Waltham Abbey, EN9 3GP: 01992 Glasgow. The exhibition also marks the 762128. www.gunpowderpark.org launch of www.multi-story.org which Lettering Arts Society. Exhibition 3AA. 01992 509596. Installation accessible in the park 24 contains photogaphy, stories and songs celebrating the wealth of talent of the www.courtyardarts.org.uk hours a day. Check website for exhibition which celebrate and promote the new group working in a wide and inspiring Wed-Sun 10-4 opening times multi-cultural community in the city. range of media. Contact gallery for details Feb: ‘Prospects I, II, III, IV’, Amanda Hopkins, site-specific installation and Halifax Harrogate Hull exhibition focusing on those aspects of the environment which often pass Bankfield Museum RHS Garden Harlow Carr EICH Gallery unnoticed within the bigger picture. Boothtown Road, HX3 6HG. 01422 Crag Lane, HG3 1QB. 01423 565418 University of Lincoln, George Street, HU1 352334. www.calderdale.gov.uk Mon-Sun 9.30-3 3BW. 01482 311030. Leicester Tues-Sat & BH 10-5; Sun 2-5 29 Jan - 23 Mar: ‘Taken Root’, Lesley www.eichgallery.org Until 20 Feb: ‘Images of Women in Whelan, large-scale, multi-media paintings Mon-Sat 10-4 City Gallery Advertising’, the story of the portrayal of drawing inspiration from the natural Unil 4 Mar: ‘Mere Illustration’, a 90 Granby Street, LE1 1DJ. women in advertising since Victorian environment, plant folklore and the challenging exhibition of contemporary 01162232060 times. cultural significance of plant life. Free illustration. Curator, Robert Mason. Tues-Fri 11-6; Sat 10-5 admission to exhibition. Until 5 Mar: ‘The Beautiful People’, David Dean Clough Galleries Huyton Hancock, large-scale photo-realist paintings Dean Clough, HX3 5AX. 01422 250250. Hartlepool (main gallery). ‘Home’, Julie Arkell, little www.DeanClough.com Huyton Gallery ‘people’ created from the rejected debris of Daily 10-5 Hartlepool Art Gallery Huyton Library, Civic Way, L36 9GD. everyday life (craft gallery). 29 Jan - 3 Apr: ‘Meetings on the Moor’, Church Square, TS24 7EQ. 01429 0151 443 5619. Derek Hyatt 1954-2004, retrospective. 869706 www.artnucleus.org [email protected] De Montfort University John Ross, exceptional satires and Spanish Tues-Sat 10-5.30; Sun 2-5 Mon-Fri 9.15-7; Sat 10-4; Sun 11-4 Trinity House, The Newarke, LE2 7BY. landscapes. ‘Romans and Drovers’, Paula Until 27 Feb: ‘New Work’, Reinhild Until 6 Feb: ‘Local History’, Brenda Roscoe, 0116 250 6288. www.dmu.ac.uk Solloway, photographs. Jo Brown, abstract Beuther, suspended light boxes. A powerful Jamie Williams and Margaret Cropper, Mon-Fri 9-5 oil paintings. Jayne Hyslop, etchings and and unique approach to photography photographs. 14 Feb - 17 Apr: ‘Never Never 21 Feb - 18 Mar: ‘Bright Side Up’, colour books. using layers of material to form final Land’, celebrating fairytale characters. The photographs by Robert Richardson. Pop images, in particular human faces and gallery will be transformed into an Art images of markets and fairs, taken Piece Hall Art Gallery bodies. Her work shows close relationships, enchanted forest and a treasure island. when the light was bright and sparkling. The Piece Hall, HX1 1RE. 01422 couples, parents, relatives, friends. Optimism mixed with poignant moments. 358300. www.calderdale.gov.uk Kings Lynn Tues-Sun & BH 10-5 Hertford Leigh Until 6 Feb: ‘Moor View Art Exhibition’, by Kings Lynn Arts Centre residents of Moor View. Until 13 Mar: Courtyard Gallery 27 King Street, PE30 1HA. 01553 Turnpike Gallery ‘Living Letters’, the Calligraphy and Courtyard Arts Centre, Port Vale, SG14 779095 Civic Square, WN7 1EB. 01942 404469.

14 What’s on a-n Magazine February 2005 www.wlct.org Stables Gallery Mon, Thurs & Fri 9.30-5.30; Tues 10- Gladstone Park, Dollis Hill Lane, NW2 5.30; Wed 9.30-5; Sat 10-3 6HT. 020 8452 8655 7-26 Feb: ‘Signs of Life’, digital Thurs-Sun 11-5 photography by Wigan students working Until 20 Feb: Patricio Bosich, atmospheric with a professional artist and the lithographs and collographs of the human Aimhigher project. condition which often use film stills and have a strong expressionist influence. Letchworth Garden City Stanley Picker Gallery Faculty of Art, Design & Music, Kingston The Place Letchworth Arts Centre, 18-20 Leys University, Knights Park, Kingston upon Avenue, SG6 3EW. 01462 670788. Thames, KT1 2QJ. 020 8547 8074 www.kingston.ac.uk/picker www.placearts.org Tues-Fri 12-6; Sat 12-4; Mon by appoint- Tues-Thurs 10-6; Fri-Sat 10-4 ment 25 Feb - 12 Mar: James Willis, solo Until 26 Feb: ‘Architecture & Ideology: painting exhibition showing in the gallery. Hiding in Plain Sight’, Erasmus Schroeter, large-scale c-prints of Nazi ‘Atlantikwall’ Lincoln bunkers juxtaposed with a collection of historical GDR architectural postcards. Usher Art Gallery Lindum Road, LN2 1NN. 01522 527980 ‘Land Art’ catalogue cover, 1969. The Drawing Gallery Tues-Sat 10-5; Sun 1-5 37 Duke Street, St James’s, SW1Y 6DF. Until 28 Mar: ‘Croque Mort’, spotlight on 020 7839 4539. Douglas Gordon, series of photographs of a www.thedrawinggallery.com baby biting her toes, settling on the rather Mon-Fri 10.30-5.30; Sat by appointment unsettling image of the body biting itself. Gerry Schum: Ready To Shoot 31 Jan - 25 Feb: ‘Drawings from the Iliad and the Odyssey’, Paul Thomas. Llandudno Norwich Gallery, Norwich Until 26 February Urbanbodies Oriel Mostyn Gallery 127 Brick Lane, E1. 07931 536327. 12 Vaughan Street, LL30 1AB. 01492 www.urbanbodies.co.uk As a renowned centre for the study of Conceptualism, the Norwich Gallery 879201. www.mostyn.org 1 Feb - 27 Apr: workshop show for Mon-Sat 10-5 and BH has created a platform for artists of the 1960s and 90s, broadening the Headway and Youth Offending Teams. 29 Contact gallery for details spectrum of ‘Ready to Shoot’ with extensive documentary material from Apr - 1 May: sixteen contemporary artists artists like Joseph Beuys and Richard Long. from Britain, Australia, Norway and France London Gerry Schum and Ursula Wevers founded the first gallery devoted exclu- in response to the theme of light and the sively to the production and distribution of video art in Dusseldorf in urban environment. msdm: protest academy 1971. It is difficult to imagine how revolutionary it was, using television de-schooling plug-in lab Manchester london inaugural lecture and video in this way (late 1960s and early 70s), yet after thirty-five years their work remains completely fresh and uncomplicated. Three sections what are we doing? what’s Castlefield Gallery explore early television productions: Fernsehgalerie Gerry Schum, ‘Landart’ 2 Hewitt Street, Knott Mill, M15 4GB: happening to us? what needs 0161 832 8034. and ‘Identifications’, Videogalerie Schum. RS to be done? I prefer not to www.castlefieldgallery.co.uk For more information see listing on page 16 or visit www.norwichgallery.co.uk 19-20 feb:inaugural ceremony +lab Wed-Sun 1-6; Thurs 1-8 26-27 feb:live performance+ transmission 11 Feb - 3 Apr: ‘From Elsewhere’, Emma 05-06 mar:exhibition+lab Rushton and Derek Tyman, Geir Tore Holm Arndean Gallery Mall Galleries paula roush+isa suarez+guests (main exhibition space). ‘Acts of ELASTIC residence 23 Cork Street, W1. 07774 624011. Federation of British Artists, 17 Carlton Generosity’, Simon Le Ruez (project space). free 19 feb-6 mar 12-6 pm www.corpus-fine-art.com House Terrace, SW1Y 5BD. 020 7930 22 Parfett st Whitechapel Mon-Sat 10-6 6844. www.mallgalleries.org.uk London E1 1JR Mold t: 02072471375 7-26 Feb: ‘Hard Bodies’, presented by Mon-Sun 10-5 [email protected] Corpus Fine Art. Figurative painting and Until 6 Feb: ‘Designer Crafts 2005’. Oriel Gallery www.elastic.org.uk Clwyd Theatr Cymru, CH7 1YA: 01352 www.msdm.org.uk sculpture from John Afflick, Alex Davies, Chloe Early, Conor Harrington, Susan Oxo Tower Wharf 756331. www.clwyd-theatr-cymru.co.uk Hippe, Mariusz Kaldowski, Nicholas Bargehouse Street, South Bank, SE1 9PH. Mon-Sat 10-10 Middleton and Saqib Sheikh. 020 7401 3610. www.oxotower.co.uk Until 5 Mar: ‘fforma’, group of 26 artists 198 Gallery Daily 11-6 from the Aberystwyth area. 198 Railton Road, Herne Hill, SE24 0LU. Cafe Gallery Projects Until 6 Feb: ‘Face to Face’. 10-27 Feb at 020 7978 8309 www.198gallery.co.uk Newark The Gallery By the Lake, Southwark Park, the.gallery@oxo and 10-21 Feb at Mon-Fri 11-5 Bermondsey, SE16 2UA. 020 7237 Bargehouse: ‘Art of Love’, Until 4 Mar: Mario Lewis, new video and 1230. www.cafegalleryprojects.org Rufford Craft Centre LondonArt.co.uk’s showcase of installation work by Trinidadian artist Wed-Sun 11-4 Rufford Country Park, Nr Ollerton, NG22 contemporary paintings, sculpture, 9DF. 01623 821315. exploring aspects of contemporary culture, 5-6 Feb: ‘Second Year Itch’, printmakers photography and poetry inspired by the www.ruffordcraftcentre.org.uk personal history, the nature of film and from the Royal College of Art. 9 Feb: one- universal theme of love. Selected from Daily 10.30-5 ideas about representation. day event of time-based media from the over 1,500 entrants. 31 Jan - 20 Feb: ‘Made at Rufford’, Royal College of Art. 26-27 Feb: ‘Reap’, exhibition showcasing ceramics made by APT Gallery installation by Anne Bean, Mark Anderson the resident artists in 2004. In the Fringe, 6 Creekside, Deptford, SE8 4SA. 020 and Gail Dickerson. ‘Pillar’, sculpture by PM Gallery & House Walpole Park, Mattock Lane, Ealing, W5 Andy Oldfield, stone table. In the 8694 8344. aptstudios.org Almuth Tebbenhoff. Thurs-Sun 1-6 5EQ. 020 8567 1227 Ceramics Centre, a range of work from www.ealing.gov.uk/pitshanger national and international makers. 3-20 Feb: ‘Aqua Vita et Mors’ (Water in Kingsgate Workshops Gallery Tues-Fri 1-5; Sat 11-5 Life and in Death), Johannes Deutsch, 110 - 116 Kingsgate Road, NW6 2JG. Newbury Fabiola Faidiga, Mimi Farina, Pina 020 7328 7878. Until 2 Apr: ‘Citizens’, installation, Inferrara, Asaki Kan, Chris Marshall, Jane photography, painting, video and digital www.kingsgateworkshops.org.uk New Greenham Arts Mulfinger, Angela Pietribiasi, Luisa Sat-Sun 12-6 or by appointment works by artists from around the world, 113 Lindenmuth Road, New Greenham Raffaelli, James Russell, Dean Verzel. 5-27 Feb: ‘MA Student Shows from Byam examining the crisis in citizenship in the Park, RG19 6HN. 01635 817480 Private view 3 Feb, 6-9. Shaw’. 21st century. www.newgreenhamarts.com Mon-Sat 10-5 Roby, charismatic creatures. 19 Feb - 19 31 Jan - 26 Feb: ‘Drawn’, two sculptors, Mar: Ana Maria Pacheco, prints. Until 5 Barry Chamberlain and Simon Cooley, Mar: ‘LACi ‘New Creators’ jewellery ceramicist Geoff Eastop and wire artist showcase. Fiona Morley explore the relationship between 2 dimensional sketching and Penarth drawing and their more familiar world of 3 dimensions. Oriel Washington Gallery 1-3 Washington Buildings, Stanwell The Corn Exchange Road, CF64 2AD. 02920 712100 Market Place, RG14 5BD. 01635 www.washingtongallery.co.uk 522733 www.cornexchangenew.com Feb: ‘Flower’s’, artists rearticulate Mon-Sat 10-5 traditional images. ‘A Rare Chance to 14 Feb - 21 Mar: ‘Lines’, series of paintings SeeÉ’, five Newport College graduates of using divisions and sequences. Clusters of the 70s. Also Susan Cunningham, Jocelyn colour fuse together to create optical Prosser and Jack Angelo, paintings, and effects, resulting in a work in which the Harriet Hill, sculpture. brain has to distinguish between the contrasts of light and dark, warm and Portree cold. An Tuireann Arts Centre Newport Struan Road, IV51 9EG. 01478 613306 www.antuireann.org.uk Rope Store Gallery Mon-Sat 10-5 Quay Arts, Sea Street, PO30 5BD. 01983 Until 6 Feb: ‘Invisible Fields’, Victoria 528825 www.quayarts.org Claire Bernie, Samantha Clark, Maria Mon-Sat 10-4 Doyle, Sarah Felton, Su Greirson, Anne Until 12 Feb: ‘Abstract Nature’, Vidya Bjerge Hansen, Jane McInally, Surujballi, solo show. Paintings, collage Metacorpus, Jeannette Sendler, Anna and mixed-media work tracing themes Coccidiaferro, Rosalind Nashashibi, from the purely abstract through to a Susannah Silver, Susan Sloan. A variety of focus on nature. approaches to video installation.

Newtown Rita Farrugia, Lilac Screen, monotype, Portsmouth 22x18.5cm, 2004. Oriel Davies Gallery Aspex Gallery The Park, Powys, SY16 2NZ. 01686 27 Brougham Road, PO5 4PA. 023 9281 625041 www.orieldavies.org 2121. www.aspex.org.uk Mon-Sat 10-5 Tues-Fri 12-6; Sat 12-4 Until 12 Mar: ‘Patagonia’, Kyffin Williams, 12PM Printmakers Until 26 Mar: ‘New Life’, David Burrows, paintings and works on paper. baroque assemblage of debris interrupted 54 The Gallery, Shepherd Market, London by immaculate attention to detail, North Shields 7-20 February saturated colours and a floor that sparkles with grey dust. Globe Gallery 97 Howard Street, NE30 1NA. 0191 259 A wide range of print disciplines are practised by this group of Essex and Preston 2614 www.globegallery.org Suffolk printmakers who have a strong link to Gainsborough’s House Print Sat-Wed 11-5.30 Workshop. With exhibition venues in Britain and Germany a high profile Harris Museum & Art Gallery 12 Feb - 5 Mar: ‘Bob Levene and has been obtained through RE, Royal College of Art and Royal Academy Market Square, PR1 2PP. 01772 258248 Automated Noise Ensemble’, playing with www.lancashiretourism.com and exploring the definitions and Schools members. The Sphinx is part of a mythological series by Tony Mon-Sat 10-5; Sun 11-4; closed BH and experiences of sound, noise and music. In Searle, exploring the intricate method of mezzotint (where a rocker pits Easter Sun collaboration with Rob Gawthrop as ANE. tiny holes into a plate, waiting to be burnished later before printing). 1 Feb - 30 Mar: ‘Stairway Exhibition’, Organised by Ray White. Opening night Richard Bawden and Carl Borges produce large decorative linocuts of paintings by Charlotte Dawson. New and Fri 11 Feb, 7-9. interiors, while new member Rita Farrugia explores abstraction in brightly existing paintings, exploring interior and exterior spaces, mainly that of modern coloured monotypes. RS Norwich commercial and institutional space. For more information visit www.aarthaus.com Norwich Gallery Rochdale Norwich School of Art and Design, St George Street, NR3 1BB. 01603 756247. and music to transform the commonplace night, 6-9pm. Touchstones www.norwichgallery.co.uk and communicate the strangeness of Central Library & Heritage Centre, The Mon-Sat 10-5 routine, daily existence. Nottingham Castle Esplanade, OL16 1AQ. 01706 864986 Until 26 Feb: ‘Ready to Shoot’, Gerry off Maid Marian Way, NG1 6EL. 0115 www.rochdale.gov.uk/touchstones Schum, Fernsehgalerie Gerry Bonington Gallery 915 3700 Mon-Fri 10-5.30; Sat-Sun & BH 11-4.30 Schum/videogalerieschum 1968-1973. A Nottingham Trent University, Bonington Daily 10-5 5 Feb - 3 Apr: ‘A Thousand Mangoes’, comprehensive retrospective of one of the Building, Dryden Street, NG1 4GG: 0115 Contact gallery for details Nafisa Mallu, photographic and most important and complex artistic 848 6131. installation work exploring food. ‘Taking projects of the late 60s and early 70s. Mon-Thurs 10-5; Fri 10-4; Sat 1-5 Yard Gallery Flight’, Shanaz Gulzar, Tim Smith and Lou Contact gallery for details Wollaton Park, NG8 2AE. 0115 915 Sumray, drawings, photography and video Nottingham 3920 in response to the Basant Kite Festival in My House Gallery Daily 11-5 Lahore, Pakistan. Angel Row Gallery 34 Windmill Lane, Sneinton, NG2 4QB. Contact gallery for details Central Library Building, 3 Angel Row, 07855 619653. Rochester NG1 6HP. 0115 915 2869. [email protected] Ormskirk Mon-Sun 11-5 www.angelrowgallery.com Rochester Art Gallery and Craft Case Mon-Sat 10-5; Wed 10-7; closed Sun 11-18 Feb: ‘Home is where the art is’, Chapel Gallery Visitor Information Centre, 95 High Until 12 Mar: ‘Pass The Time of Day’, invites friends and art family alike to a St Helens Road, L39 4QR. 01695 Street, ME1 1LX. 01634 338325 group exhibition curated by artist Paul lighthearted show in response to living 571328 www.westlancsdc.gov.uk www.medway.gov.uk Rooney exploring the potential of sound spaces. Fri 11 Feb: all welcome to opening Until 12 Feb: ‘TrashCanimals’, Matthew Mon-Sat 10-5; Sun 10.30-5

16 What’s on a-n Magazine February 2005 Previews focus

Each month previews focus on a different region of the UK Coming up: • March: Northern Ireland • April: North West England and North Wales

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Forgotten your password or need a password? Contact [email protected] or +44 (0) 191 241 8000. Until 6 Mar: ‘Death and the Consumer’ www.cupolagallery.com Southport Mission Gallery and other paintings, Jeremy Critchlow, Mon-Sat 10-6.30 Gloucester Place, Maritime Quarter, SA1 multi-layered works on canvas. ‘Quiet Until 19 Feb: ‘Under the Bed Sale’, work in The Atkinson Gallery 1TY. 01792 652016 Land’, Julian Rowe, handmade artist’s all media. Old, early and experimental Lord Street, PR8 1DH. 01704 533133 Daily 11-5 books. work for sale from £1 - £300. ext 2110 Until 12 Mar: ‘They Came’, Sian Bonnell Mon-Wed & Fri 10-5; Thurs & Sat 10-1 (tbc) Rugby Encounters at 10 Feb - 2 Apr: ‘Navigating a New Home’, 127 Club Garden Road, Sharrow, S11 exploring the subject of Sway Rugby Art Gallery & Museum 07870 698333, immigration/emigration artist Sarah [email protected] Little Elborow Street, CV21 3BZ. 01788 Nicholson creates a site-specific Artsway Mon-Thurs 12-5; Sats 4 Dec, 8 Jan, 5 533201. installation piece working in the gallery Station Road, SO41 6BA. 01590 Feb, 5 Mar 12-5 www.rugbygalleryandmuseum.org.uk within the first two weeks of the 682260. www.artsway.org.uk Tues & Thurs 10-8; Wed & Fri 10-5; Sat Until 5 Mar: Encounters (artists Ruth Ben- Tues-Sun 11-5 Tovim and Trish O’Shea) take up residence exhibition. Supported by ACE. 10-4; Sun & BH 1-5; closed Mon Until 13 Feb: ‘commonground’, ArtSway’s in their third dis-used shop in Sheffield. Until 16 Mar: ‘An English Journey (Part II), annual open exhibition of local, national Displays of cross art-form work made with St Andrews Andrew Cross, two specially commissioned and international artists working in all and in response to local residents and the video works and photographs examining media display their work. urban environment will change over time. Crawford Arts Centre how the perception of place is determined 93 North Street, KY16 9AD: 01334 by the manner we pass through landscapes. Graves Art Gallery 474610. Taunton www.crawfordarts.free-online.co.uk Runcorn Surrey Street, S1 1XZ. 0114 278 2600. www.sheffieldgalleries.org.uk Mon-Sat 10-5; Sun 2-5 Brewhouse Theatre and Arts Centre Mon-Sat 10-5 Until 6 Mar: ‘The Dangers of Sewing and Coal Orchard, TA1 1JL. 01823 283244. Norton Priory Museum Contact gallery for details Knitting’, Deirdre Nelson, in collaboration www.brewhouse-theatre.co.uk Tudor Road, Manor Park, WA7 1SX. Mon-Sat 10-5.30 01928 569895. www.nortonpriory.org with the Collins Gallery, Glasgow. ‘Craft Until 19 Feb: ‘Riven Temples’, Michael Daily 12-4 Millennium Gallery Showcase’, Kirstie Thornber, scarves; Katie Arundel Gate, S1 2PP. 0114 278 2645. Fairfax, ‘camera obscuras’. ‘Behind the Until 7 Mar: ‘Geminii Connexions’, fibre Clarke, jewellery; John Maguire and Barm www.sheffieldgalleries.org.uk Scenes’, Sue Luxton, paintings. 26 Feb - artists Rosemary Cassidy Buswell and Pottery, ceramics. Mon-Sat 10-5; Sun 11-5 26 Mar: ‘Printers Inc. - Recent British Judith Railton have two very different Until 17 Apr: ‘Tate Sculpture: 50 Years of Prints’, some of Britain’s brightest talents. views of masks, love and hate, rainbows, Stafford British Sculpture from Tate’, displaying 20 ‘Printers Ink (Som)’, Somerset Printmakers. bodices, Rossetti and more. major works focussing on the human form by the most influential British sculptors of Shire Hall Gallery Market Square, ST16 2LD. 01785 Ware The Brindley the last 50 years. High Street, WA7 1BG. 0151 907 8360. 278345. www.staffordshire.gov.uk www.thebrindley.org.uk Mon-Sat 9.30-5; Tues 10-5; Sun 1-4 Artshed Gallery S1 Artspace Westmill Farm, Westmill Road, SG12 0ES. Mon-Sat 10-4; closed Sun and BH Units 4A-6B Trafalgar Court, Milton Until 6 Mar: ‘The Hermit, The Shoe & The Until 13 Feb: ‘All in a Day’s Work’, Street, S1 4JU. 0114 249 3386 Stone’, work from Staffordshire County 01920 466446 www.artshed-ware.com Markmakers. Halton’s visual arts collective www.s1artspace.org Council’s Public Art programme 2000- Tues-Sat 11-5; Sun 12-4 have created works in a wide range of Thurs 7-9 2003. Jenny Oliver, beautiful ceramic Feb: original prints by Anita Klein, Tracey media in a 24 hour period. Fascinating 3 & 17 Feb: ‘S1/SALON’ artist film and figures highlighted with felt. Emin, Barry Flannagan, Robyn Denny, Ian insight into artists’ working methods and video screenings. Admission free. Hamilton Finlay, Kim Lin and other the ideas process. Stroud contemporary artists. Sherborne Ruthun Stroud House Gallery Warwick Sherborne House Station Road, GL5 3AP. 01453 750575 Manorhaus Restaurant and Hotel Newland, DT9 3JG. 01935 816426. www.stroudhousegallery.co.uk The Trinity Technology College Well Street, LL15 1AH. 01824 704830. www.sherbornehouse.org.uk Until 11 Feb: ‘Homelife’, domestic bliss or Myton Road, Warwick Tues-Sat 10.30-3 and 7-late Tues-Sun 10.30-4.30 otherwise from artists throughout the UK. 10-23 Feb: ‘somewheretogo’, site-specific Until 27 Feb: ‘Different Views’, Until 20 Feb: ‘Co-ordinates’, artists’ Including Jennifer Dowgill, Emily mixed-media work by 15 UK based artists environmental sculpture and drawings by responses to specific locations presented Mennerdahl, Colin Glen, Barbara Howey, in an empty school days away from Tim Pugh; studio glass by Simon Howe. to them as a six figure grid map reference. Belinda Vize, Melanie Russell, Akiyo demolition. 7-28 Feb: ‘Flesh, fur and Sculptures created on the coasts and Featuring work by Peter Joyce, Martyn Yamamoto, Jackie Brown, Susan Lovatt, feathers’, Michael Sofroniou and year 12 woodlands of North Wales and glasswork Brewster, Terry Winsor, Aisling Hedgecock Julia Peat, Noriko Suzuki Bosco, Anna students, paintings. ‘Sleep-Eternal rest’, and Brian Turner. inspired by visual aspects of Ruthun. Bianchi, curator Lyn Cluer Coleman. 19 installations by artists 7-47 years old. Feb - 25 Mar: ‘Fold It’. Saltburn Shrewsbury Wolverhampton Sunderland Saltburn Artists Projects Shrewsbury Museum & Art Gallery Wolverhampton Art Gallery Saltburn Gallery, 30-32 Marske Road, Rowley House, Barker Street, SY1 1QH. Lichfield Street, WV1 1DU. 01902 TS12 1QG: 01287 626060. 01743 361196 Reg Vardy Gallery University of Sunderland, School of Arts, 552055 www.wolverhamptonart.org.uk www.saltburnartistsprojects.co.uk Mon-Sat 10-4; Sun 10-5 Design, Media & Culture, Ashburne Mon-Sat 10-5 Wed-Sun 12-4; Thurs 12-7 Until 12 Mar: ‘Historic Prints from The House, Ryhope Road, SR2 7EF. 0191 Until 14 May: ‘Reaching Out’, celebrating Contact gallery for details. Collections’, special selection by members 515 2128. www.regvardygallery.org the range of projects and programmes of Shrewsbury & District Arts Association Tues 10-8; Wed-Fri 10-5; Sat by appoint- created by Wolverhampton Arts and Scarbrough to complement the recent SADAA Open ment Museums Service with schools and Print Competition. Until 18 Feb: Brian Chippendale. This will communities. Until 31 Dec: ‘Sensing Crescent Arts be the first solo of Chippendale’s work in Sculpture’. The Crescent, YO11 2PW. 01723 Southend-on-Sea 351461. www.crescentarts.co.uk Europe. A hand-made, limited edition publication accompanies the exhibition. Worksop Tues-Sat 10-1 & 2-5 Focal Point Gallery Until 26 Feb: ‘Look Bright’, work in a variety Southend Central Library, Victoria of media dealing with optimism, by Nick Avenue, SS2 6EX: 01702 612621x207. Swansea Harley Gallery Holmes, Kate Sully, Lu Mason, Sarah Davies, www.focalpoint.org.uk Welbeck, S80 3LW. 01909 501700. www.harleygallery.co.uk Victoria Scott, Yoke & Zoom, Pamela Mon-Fri 9-7; Sat 9-5 Glynn Vivian Art Gallery Tues-Sun 10-5 Schilderman, Kevin Hunt and Tom Goddard. Until 12 Feb: ‘Shadow Play’, Denny Alexandra Road, SA1 5DZ. 01792 Robson, new body of work exploring time 516900 www.glynnviviangallery.org Until 6 Mar: ‘Hand to Eye’, exploring the Sheffield and memory. Each image depicts the Tues-Sun 10-5 process of creating craft objects, a interior of a privately owned house in Until 13 Feb: ‘Avant-Garde Graphics 1918- Winchester Gallery touring exhibition. Cupola Gallery London that has been continuously 34’, national touring exhibition organised John Allen, new woven carpets inspired by 178a Middlewood Road, Hillsborough, inhabited by the same two families for by the Hayward Gallery for Arts Council the Nepalese Himalayas. Seiko Kinoshita, S6 1TD. 0114 285 2665. over 500 years. England. Also ‘Avant-Garde Film 1918-34’. wall-based textiles.

18 What’s on a-n Magazine February 2005 All about artists and contemporary visual arts practice

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that located to the building in February. well as a piece for the PiH Collection, facilities and this is due to go live in HOSPITAL ARTS PiH currently has some 4,000 art- with Great Ormond Street Hospital the Spring 2005. works, available for loan to healthcare first beneficiary. The grant comes in the wake of the PRIZE LAUNCHED facilities, including pieces by Elizabeth A £100k grant, part funded by the performance target, set by the Govern- Blackadder RA, Sir Peter Blake RA, Sir Department of Health and part by ment for the NHS to strive for better Work by the late Alexandra Reinhardt is Anthony Caro RA, Quentin Blake and NHS Estates, was made to Paintings in designed hospitals, a direct result of on show (until 25 February) at the other contemporary and modern British Hospitals in April 2004. The funds lobbying body CABE’s (the Commission Menier Chocolate Factory Gallery, artists. enable the charity to increase the col- for Architecture and the Built Environ- Southwark, now the home of charity The Collection will be augmented lection available to the NHS and ment) Healthy Hospitals campaign Paintings in Hospitals (PiH). This is the by works created through The Alexan- extend its support to more healthcare (www.healthyhospitals.org.uk). CABE’s first of an annual programme of exhibi- dra Reinhardt Memorial Award, organisations who seek advice on research with nurses revealed that 91 tions and events there, designed to launched at the opening of the exhibi- what to choose, how to display and percent believe a well-designed hospital bring arts and health projects to a tion and funded by the Max Reinhardt care for artwork. NHS Estates has com- environment is significantly related to wider audience. Some will be presented Charitable Trust. The annual £7,000 missioned Paintings in Hospitals to patient recovery rates and impacts on in collaboration with The National Net- award will be for commission of a per- place their collection on a website to nurse performance, recruitment and work for the Arts in Health (NNAH) manent artwork in an NHS hospital, as make it more accessible to healthcare retention.

Above left: Above: Adrian Howells, Adrienne’s Dirty Laundry Kira O’Reilly, inthewrongplaces; Sleeping Bio Experience; On a Day of Domestic Bliss. Image Beauties. Image taken from the ‘One to One’ to promote forthcoming performance from the salon series at Home, London. AT HOME ‘One to One’ salon series at Home, London.

One-to-one encounters feature in a ence and artist share the risk and Conversation with Friends (11 March, researches, presents and promotes series of performance salons organ- opportunity within the performance, 6.30-9.30pm) where your conversa- events by contemporary artists in a ised by London-based Home. that is left to develop in the privacy of tion with the artist is recorded in a range of spaces and contexts, with Designed to bring audience and per- the situation, with the outcome of the mouth-held pinhole camera and audience entertainment and partici- former closer than ever in the venue’s interaction unpredictable. Helena Goldwater’s Hot Soak held in pation an underlying principle. The domestic context, these events create The programme includes Adrienne the upstairs bathroom (18 March, 7- main space in London – a Victorian a space in which to explore the con- ‘Queenie’ and Jenny Jones’ Day of 10pm). Tickets £8 (£5) must be semi in Camberwell – is augmented temporary desire for intimacy, our Domestic Bliss involving washing, booked and paid in advance. by the new venue Home Suffolk – a need for ‘real’ and unmediated experi- ironing and a coffee morning, Third Run by artist/curator team former church in Rishangles, loca- ence and wish for the informality and Angel’s Palm (4 March, 6-10pm) offer- Laura Godfrey-Isaacs and Mimi tion for the new Church Ale perform- privilege of direct communication ing an alternative, highly-charged visit Banks, Home is a live art and per- ance festival due to be held in July.. within the performance space. Audi- to a palm reader, Caroline Wright’s formance production company that www.Lgihome.co.uk [email protected]

20 News a-n Magazine February 2005 YORKSHIRE’S DIVERSITY REVEALED

A report published in November tural diversity agenda in a wide shows multiple approaches by range of ways, especially in pro- organisations in the creative sector gramming and audience devel- in Yorkshire and the Humber to opment work but less so in terms addressing cultural diversity. of organisational development Arts Council England, York- and staff recruitment shire, Yorkshire Forward (the • Addressing the issues seems to regional development agency) be easier to facilitate in and University of Leeds have larger organisations and is invested in a portfolio of research most pronounced in the organi- initiatives through the Creative sations with significant public Yorkshire project. This has pro- funding duced some of the most compre- • A majority of organisations sur- hensive strategic intelligence veyed regarded the commitment available about the creative sector to equality and cultural diversity for any region in the UK, enabling as a positive choice Creative Yorkshire to further • Significant reasons offered for develop the creative industries the perceived under-representa- sector in Yorkshire and the Hum- tion of minority ethnic profes- ber. sionals in the business were the Cultural diversity and employ- lack of role models and the per- ment in the creative sector by Dr ceived elitism of the arts Calvin Taylor with Dr Robert Ellis Andy Carver, Executive Director and Claire Heathcote from the Uni- of Arts Council England, Yorkshire, versity of Leeds’ School of Perfor- said: “The creative sector has made mance and Cultural Industries, good progress but there is still reveals that: much to be done to achieve equal- Ellie Harrison, Gold Card Adventures, a series of • There is a growing body of work ity of access and progression in twenty-eight digital images. being done on improving equal- employment in our sector. We hope ity of opportunity in the creative that this project prompts further industries debate and action across the sector UNDERGROUND MOVEMENT • The performing arts seem to to make more progress towards a recognise this quite specifically workforce that truly reflects our as an area that they need to society as a whole.” The result of a year-long project by Ellie of every tube, train and bus journey are address and are active in engag- Copies of Creative Yorkshire: Cultural Harrison, ‘Gold Card Adventures’ is pre- published on diversity and employment in www.ellieharrison.com/goldcard ing with it Yorkshire’s creative sector are avail- sented until 21 March at Piccadilly Cir- • Organisations address the cul- able at www.creativeyorkshire.com cus underground station, London, Describing her work as inspired by courtesy of Platform for Art. Purchasing the “manipulation and representation a Gold Card year’s travel pass and using of data collected from within my every- her daily commute between Ealing and day routine”, the artist’s previous proj- PAYBACK TIME New Cross as the basis, she recorded the ects include Eat 22 – a year-long journeys, calculated the cumulative dis- documentation of everything she ate, Christmas came early for thousands word-of-mouth, advertising in a-n tance and began marking the stages of presented as part of the Wellcome of UK fine artists and visual cre- Magazine and elsewhere, or on the the ongoing journey as if they were visits Trust’s ‘Treat Yourself’ exhibition at Lon- ators, with over £2.25 million DACS website. to target destinations around the world. don’s Science Museum in 2003, and being paid out to them in Decem- DACS has been distributing rev- The project developed into an imag- Sneezes 2003 – a record of her 314 ber through Payback 2004.The enue from collectively licensed inary challenge to visit as many places sneezes during that year, shown at the Design and Artists Copyright Soci- rights to artists and visual creators as possible. Through Gold Card Adven- Wallner Gallery, Lakeside Arts Centre, ety (DACS) negotiates a share of since 1999. This service, known tures, the artist exoticises the usually Nottingham. revenue from collective licensing since 2001 as Payback, has seen mundane notion of commuting by schemes for visual creators and this massive growth in licensing revenue likening banal journeys to voyages that Thanks to a-n year distributed two years’ worth of payouts and in the numbers of are potentially far more exciting. In the “I’ve been a subscriber to a-n Magazine payments, through its Payback visual creators benefiting. Any process of making relatively dull trips since I graduated”, says Ellie Harrison, service, in celebration of the organi- visual creator with a valid claim can around London, she created a work “It has proved a fantastic resource and sation’s 20th Anniversary. receive a share. In 2004, DACS dis- that addresses complex issues around offered me so many of the great oppor- The number of claims received tributed payments to fine artists, travel and the expectation and percep- tunities I’ve had over four years as a this year increased forty per cent illustrators, photographers, sculp- tion of visits to worldwide destinations. practising artist”. on Payback 2003, with many tors, craftspeople, cartoonists, archi- The resulting exhibition is a selec- received through DACS’ mandat- tects, animators and designers. tion of twenty posters from a larger set Subscribers can check out the new weekly Opportunities update service, only on ing agencies, as well as from Design and Artists Copyright Society, that present mock postcards from the www.a-n.co.uk. Not a subscriber? Artists artists and visual creators who 33 Great Sutton Street, London EC1V destinations, with a note of the dis- pay as little as £25 when using Direct Debit 0JP, 020 7336 8811, F 020 7336 8822 and get a range of special subscriber bene- learned about Payback through [email protected] www.dacs.org.uk tances involved. The full set – plus a log fits – see the subscription form on page 19. CONFERENCE CALLS

Abstracts of papers on the theme of their control over communication See a profile of 2002 tice. Artists and commentators are ethics into aesthetics are invited by 1 media in real time. Details on submis- Jerwood Applied Arts Award win- invited to submit ideas for papers May for possible inclusion in an inter- sions to the conference and open from ner Shelly Goldsmith on and demonstrations of work relevant national conference held 12/13 www.norwichgallery.co.uk www.a-n.co.uk>Time and space> to this theme. If you are interested in August to accompany EAST 05, the • Regional organisation Textile Forum Prizes and awards participating as an artist or speaker, annual open exhibition held at the South West is holding a launch confer- • Close Proximity, held 20 – 21 May please submit a CV and short pro- Norwich Gallery. This year’s selector ence on 5 March at Somerset College at New Greenham Park, Newbury posal (one side A4) to Helen Sloan, Gustav Metzger sees the open as a of Arts and Technology. ‘At the Edge: and organised for the Networking SCAN, ArtSway, Station Road, Sway, vision of the world formed by artists extending textile boundaries’ will pres- artists’ networks initiative (NAN) by SO41 6BA. and artists’ groups, dealing with the ent an overview of how concepts and Helen Sloan (SCAN) and artist/cura- If you would like to discuss the project further, please contact crucial economic, political and ethical technology relate to recent develop- tor Jonathan Swain, will look at the [email protected] or 01590 682824. issues facing us all, and a situation in ments in textile practice, with speakers changing identity of areas that lie in Deadline 25th February. which artists are asked to look at including Sarah Braddock-Clarke and the shadow of the ever bulging ‘com- See also page 24 of this issue for more about the Networking artists’ net- ‘extremes’ in the world and use the Shelly Goldsmith. Info from muter belt’ around London, and the works initiative. exhibition as an opportunity to realise [email protected] effect this is having on artists’ prac- 01422 842091 ENVIRONMENTAL ENGAGEMENT

An allotment site in Lower Kersal within the Irwell Sculpture Trail, Sal- ford was the location for a socially- engaged residency involving artists Debby Akam Power, Rick Faulkner and Peter Hatton. Following negotiations with the allotment association, a proj- ect evolved that was designed to high- light the role and value of allotments in the context of national changes in food consumption and local demo- graphic changes. The emphasis was on promoting the benefits of sourcing food locally and investing in local com- munities. The artists’ role was to develop an engaged model of practice that might shift perceptions and articulate new relationships between the project’s context and the wider world, thereby proposing new ways of perceiving this marginal landscape and others similar. Running from March-September 2004, Growth curves within the margins used video and photography to explore: “The fusion of gardening with activities related to recording the site and context that allowed privileged access to a Debby Akam Power, Rick Faulkner and Peter Hatton, It’s a different world, chefs and cart outside The dymanic, enthusiastic, well-organised Lowry Hotel, 2004. Photo: Peter Hatton and committed group of people.” In a considered but leisurely way, the artists were drawn into the pace of tion at the annual October food and vegetable-focused meal for the regu- to celebrate the creativity of Salford life on the allotments, where due time is drink festival held at the nearby five- lar menu. One of a number of initia- people”. given to social interactions and collabo- star Lowry Hotel. It’s a different world tives that work with existing To read essays and profiles of artists and organisations, including Littoral, who are rative projects, all underpinned by the was a reaction to the conventional community creativity and cultural working in engaged practice – a term for imperatives of the growing season. The market-driven promotional vehicle for forms, in the words of speaker Ian an approach to visual arts practice where exchange meant that whilst the artists the city’s restaurants, and involved a Hunter (from Littoral) at the Lowry people and social or environmental con- texts and the artistic and aesthetic con- became better gardeners, the allot- stately, horse-drawn procession to event, this project, “took ordinary tra- cerns of artists are brought together for ment-holders became more proactively take produce grown on the allotments ditions, those of the Salford Allotment mutual examination, exchange and experi- mentation – go to engaged in art as a process for change.” and, with the participation of the Association, and put them at the fore- www.a-n.co.uk>Knowledge bank> The project included an interven- hotel’s chefs, turning it into a special front where they belong. We’re right Time and space>Engaged practice

22 News a-n Magazine February 2005 C5 PRIZEWINNERS

Penny Klepuszewska, a 2003 gradu- Winners were selected from a pher and said: “ Although the whole through to the finals, Chris Boyd’s ate from Nottingham Trent Univer- panel including Evening Standard art competition process itself was quite videos won regional heats at Man- sity and Chris Boyd, a Manchester critic, Brian Sewell, fashion designer nerve-wracking and gruelling, I chester’s Lowry Museum and Metropolitan University second-year Wayne Hemingway and artist Jane believe that it is an excellent arena impressed again at the semi-final at interactive arts student were joint Wilson. from which to find emerging artists. the Baltic Arts Centre, Gateshead. winners of the UK Art Prize 2004, Penny Klepuszewska’s first sub- The award has already started to Brian Sewell, known for his traditional that attracted over 40,000 entries mission – a photograph entitled The open up doors for me and I now look view on art, admitted to changing his and created ten finalists. They Seclusion Room (2003), was part of forward to developing my work fur- mind about video art after seeing this shared the £10,000 cash award. an installation created for her final- ther and building on the contacts student’s work. Describing his work as The UK Art Prize 2004 (Channel year degree exhibition at Nottingham I’ve made.” cross-medium, narrative filmmaking, Five’s Big Art Challenge) was a Trent and her second End Part (2004) Since graduating she has taken Boyd said he was “expecting a maul- nationally televised art competition depicts the possession of a house part in a year-long exchange at the ing”. run in the autumn of 2004, sup- after the death of someone with no Academy of Fine Art in Lodz, Poland, The People’s prize went to Richard White. Other finalists were Alex Calinescu, ported by Arts Council England and next-of-kin. and been awarded a studio resi- Rebecca Kidson, Vanessa Mustard, Arts Council of Wales. It aimed to She commented favourably on dency at Florence Trust Studios, Lon- Antonia Spowers, Edward Taylor, “attract all types of art, both modern the way her course at Nottingham don. See her work on Michael Vogt and Sonny Williams. See all their work on and traditional, and seek out the next had prepared her for the competi- www.prospect-k.com www.five.tv/accessibility/programmes/big Damien Hirst or John Constable”. tion and her career as a photogra- The only student to make it artchallenge/

Emma Pratt, When Its Frosty He Likes To Lick Lamposts, mixed-media installation with lard, 2005.

TAKE SIX of structural and cultural change; Emma Pratt’s work combines the everyday with Glasgow-based Market Gallery presents the fantastic and creates anomalous dis- work by six 2004 graduates from Scot- tillations and hybrid forms; Stuart McCaf- land’s art courses in ‘A nation turns its fer makes constructed rooms loaded with eyes to you’. Working directly onto the all the archetypal over-used and clichéd gallery walls, Miranda Blennerhassett symbols that are perceived to be repre- uses the familiarity of pattern and motif sentative of people and place and Mairi from interior decoration to impose spatial Lafferty’s new film presents a young restrictions on the gallery; Leon Hill con- female dancer responding to the brutal structs autonomous systems to quantify thrashing rhythm of a weaver’s loom. and subject as objective information; Joe Showing until 5 February at 334 Duke Street, Glasgow see Reeve makes work referring to processes www.marketgallery.org.uk Networking artists’ networks

NAN NEWS Bursaries are available for up to £500 Using New Greenham Park (the old NAN facilitates exchange, dia- We are very pleased to announce the and only artists’ groups are eligible to Greenham Common US air base) as logue and collaboration winners of our second round of NAN apply. For more details, please the backdrop, Close Proximity will amongst visual artists, what- Research Bursaries for artists’ groups contact Emilia Telese at investigate some of these questions ever their practice and loca- and networks. [email protected] during the two day event through case tion. It offers a focus for critical Bursaries of up to £500 were awarded studies, artists’ projects, talks, discus- exchange and feedback and by the a-n/NAN team and the NAN sion and performance. Aiming to be through research and mapping, artists’ advisory group to the following NAN EVENT positive and proactive, the event will seeks to develop greater artists’ initiatives: Close Proximity – New Greenham look at ways that artists engage inside awareness of the value of Caravan, Amber Valley, Derbyshire, Park, Newbury and outside of the capital and how artists’ initiatives and of their contact [email protected] 20 – 21 May new ideas and projects can be taken changing professional needs. Cremer Projects, London, contact Organised for NAN by Helen Sloan forward. [email protected] (SCAN) and artist/curator Jonathan We are currently inviting artists and For more information about The Cumbria Network, Cumbria Swain, two days of activities and dis- commentators to submit ideas for NAN visit www.a-n.co.uk> www.thecumbrianetwork.co.uk cussions will look at the changing papers and demonstrations of work about a-n>Networks> Digital Art Projects, Chipping Nor- identity of areas that lie in the shadow that are relevant to this theme. If you Networking networks or ton, Oxfordshire www.digitalartpro- of the ever bulging commuter belt are interested in participating as an contact Emilia Telese, jects.net around London, and the effect this is artist or speaker, please submit a CV Artists’ Networks Coordinator Digital Perceptions project, having on artists’ practice. and a short proposal on one side of A4 [email protected] UK/Australia, contact Philip O’ Reilly As the boundaries of London expand to Helen Sloan, SCAN, ArtSway, Sta- [email protected] further and further, Close Proximity tion Road, Sway, SO41 6BA. If you OrganicArts, West Town Farm, Ide, will explore the role of urban and eco- would like to discuss the project fur- “The NAN event made personal near Exeter www.organicarts.org.uk nomic development in the arts close ther, please contact [email protected] exchange [amongst artists] Stand Assembly, Nottingham to the Capital. Is there a specific kind or 01590 682824. Deadline: 25th much easier and fun than it www.standassembly.org of work that is made in the commuter February. normally is, and this has been Yolk, Nottingham www.yolkart.org belt of London? Do artists If you participate as a speaker/artist a great encouragement for my Information about these artists’ groups living/working in these geographical your accommodation will be provided career as an artist and curator.” and their projects can be found on areas choose to show only in London free and we will pay a small fee. Others Alessia Fanti, artist, Swansea www.a-n.co.uk>Organisations or internationally? Do artists specifi- wishing to attend the event can do so NAN research bursaries are awarded cally choose not to work in London – for free, but accommodation will not quarterly to artists’ groups and net- is there a sense of identity to the be provided. For further details or to works to “go and see” other networks locale? Does a location in the ‘com- book a place, contact info@ or arts organisations, promote collabo- muter belt’ of London have an impact scansite.org rations and generate artistic exchange. on artists?

NAN is being developed through Arts Council England revenue support to a-n The Artists Infor- mation Company. Scottish Arts Council and ESF funds support activities in Scotland and North East England.

Fabrizio Manco, Stalks, video installation. Manco is currently developing a live art collaboration with composer Roger Goule that is being coordinated by Cremer Projects.

24 Networking artists’ networks a-n Magazine February 2005 Entrance view of the ‘Nine Artists and One Farm’ exhibition organised by Organic Arts. Quotation from Andrew Bragg, the farmer at West Town Farm.

ARTISTS’ NETWORKS tions in Spain and other Spanish the USA. Field of Vision events have land, a disused quarry and a the site of This month, we profile some of the speaking countries. already happened at Kunstverein, a dismantled railway. Last September artists’ groups who were awarded a Cremer Project artist Juan Del Gado Neuenhaus, Germany in 2003 and The Organic Arts held ‘Nine Artists and One research grant in the second round of will travel to various organisations to Lab Gallery, New York in 2004 Farm’, the culmination of a project NAN bursaries. Please see previous develop partnerships in order to create The NAN bursary will fund Digital Art where nine artists were invited to cre- page for more information about the an artist-in-residence network between Projects visit to the Institut fÜr Neue ate work in response to the farm. The bursaries. Spain and the UK. Medien in Frankfurt, Germany to dis- NAN bursary will enable Organic Arts Contact: Cremer Projects, 38 Fifth Avenue cuss the idea of a symposium about to visit a number of organisations in London W10 4DN, 020 8968 6334, Cremer Projects [email protected] the background and new media the UK that share aspects of their aims Cremer Projects started as an idea aspects of the Field of Vision project. and objectives and to investigate the between three artists based at ACAVA Contact: Stephan Hausmeister most efficient ways of sustaining the [email protected] Studios in East London, who felt that Digital Art Projects www.field-of-vision.net/NewYork centre to develop the initiative further. they were having difficulties promot- This network of artists collaborates on Visits will include PALP in Cornwall, ing their work and establishing them- public art projects with virtual and live Wysing Arts in Cambridgeshire, Bra- selves. One of the artists, being outcomes combining traditional and Organic Arts ziers in Oxfordshire and others. disabled and working with disabled new media. It has pioneered new Organic Arts was formally created in Contact: Christine Duff artists, found that most of the time applications for large format digital January 2004 by three artists graduat- [email protected] www.organicARTS.org.uk they didn’t know who, how or when to printing and established hybrid for- ing from Plymouth University and Dart- (under construction) approach curators and galleries, and mats, for example ‘walking’ billboards ington College of Art, who have a therefore felt frustrated and isolated and large-scale installations using digi- studio together at West Town Farm, a from the mainstream opportunities tal print. The artists share a common working organic dairy and beef farm on For your artist’s group or network. Cremer Projects was devel- interest in re-evaluating interrelated the outskirts of Exeter. After discovering network to be featured, send a oped to respond to these needs locally, roles of authorship, content and pres- its farmer’s desire for it to be used for brief description including nationally and internationally. The entation, deconstructing traditional education purposes and to promote aims, history, future projects group includes several London-based contexts for fine art practice and public awareness about the value of and contact details suitable artists from different countries and is establishing new ones through live the land, Organic Arts is now develop- for publication to currently in the process of moving to projects. Their current objective is Field ing participatory arts at West Town [email protected] Kingsgate Studios in Hampstead. The of Vision, a series of live art and inter- Farm as a centre that integrates educa- More artists’ networks listings recently awarded NAN bursary will net based printing formats projects in tion about rural issues, environmental on www.a-n.co.uk > help Cremer Projects in their initiative the UK and abroad, with partners in issues and art. There are a number of Organisations to pursue collaboration with organisa- Germany, Taiwan, Spain, Bulgaria and buildings plus fields, a stream, wood- Above: All images were taken at the Quo Vadis networking event, held November 2004 in Bristol and Cardiff.

Critical contexts

Dominic Thomas on the importance of a critical context for artists’ practice. One of a specially commissioned set of articles resulting from Quo Vadis available now on www.a-n.co.uk.

At one point during his presentation at the Quo Vadis net- it mean to place one’s practice in a critical context? Is it neces- working event, artist, curator and writer Gordon Dalton was sary that one’s work be subject to external critical responses? comparing the contemporary art scenes in different nominally And for artists whose work, for whatever reason, falls outside ‘peripheral’ locations across the UK. Asserting that the periph- the primary channels of critical engagement what, if any, are ery need not be a negative starting point, he went on to talk the alternatives? about how artists and organisations working outside the cul- South of the border, much has been made of the apparent tural centres can successfully operate on a local, regional and increase in column inches and airtime being given to new art international level. since the early 1990s. Most of this was driven, of course by the He mentioned the vitality of activity in Glasgow and Edin- fortuitous combination of Blair’s Cool Britannia, the yBas phe- burgh and the way artists there had looked across the North Sea nomenon, Tate Modern and the Turner Prize, not to mention for development opportunities rather than south to London. some well paid PR companies. But, as Patricia Bickers pointed But one particular point Dalton made hinted at another, in out in a recent editorial for Art Monthly, the almost universal some ways more pressing, issue relating to artists working glee with which the media greeted the destruction of many yBa- throughout the UK. In reference to the contemporary art scene generation works in the Momart warehouse fire showed that in Scotland he suggested that its apparent success was, in part, although coverage may have increased, the story – personal- due to the fact that the Scottish mainstream press was willing ity/celebrity, titillation and manufactured outrage – remains the and able to engage with new art and that this helped to provide same. Regardless of the level of engagement, which is, with a a context in which art and artists could flourish. This is by no few exceptions, generally negligible, the number of artists means the whole story but the point struck a chord and raises whose work is discussed at all in the mainstream media is some questions that I’d like to follow up here. rarely more than can be counted on the fingers of one hand. For artists whose work strives to be critically engaged with The fact that it seems almost perverse to imagine that the ideas and issues beyond the four walls of the studio, what does media could provide any kind of critical support for contempo-

26 Networking artists’ networks a-n Magazine February 2005 rary visual art is a sign of how deep rooted the anti-intellectual Of course the tried and tested route that many artists now and anti-art culture is in this country. follow when faced with a lack of opportunity or support is to So what of the dedicated art press? Do they provide a crit- make their own. As your professional development officer ical context for artists? Well, yes and no. There are a number will tell you, the days of sitting in your studio waiting to be of fine publications whose editors and writers strive to discovered are now, if they ever existed, definitely over. The engage with contemporary practice and who seek to develop model of the artist-led initiative is now a given. Don’t have a contextual frameworks for the production and distribution place to work? Then set up your own studio group. No of new art. For many artists working on the periphery, criti- gallery to show in? Find an empty warehouse or shop and cal journals and art magazines do provide a basis for critical start your own. No commissioning opportunities? Put in an context. These publications can be vital not least in provid- application to the Arts Council and commission yourself. It ing access to a wider variety of work than the geographically is a model I continue to happily subscribe to myself, and one isolated artist might otherwise encounter. Also, through a that has reaped many rewards. But if artists are working in a kind of parallel reading of the ideas and issues raised else- critical vacuum can they simply create their own critical con- where, one can construct a virtual or surrogate context in texts? which to test one’s own practice. But the tendency of these The avoidance of the core subject, as mentioned above, is publications to focus on the same familiar players with occa- not confined to funders and professional development sional forays out to lesser-known but generally well publi- schemes. In my experience, artists themselves can be equally cised ‘provincial’ events, still leaves whole swathes of artistic prone to this kind of selective amnesia. Often amongst artists activity unaccounted for in published art writing. groups and networks I have found a reticence about raising It is obvious that if your work does not appear in venues fre- issues relating directly to members’ work. A kind of unspoken quented by critics and writers, it is unlikely to be written about. rule which, in the interests of support and solidarity, goes But does this mean all the work of artists on the cultural or geo- either, ‘I won’t say anything difficult about your work if you graphical periphery is doomed to be critically provincial and don’t say anything difficult about mine’ or alternatively, ‘We are irrelevant? all professionals here, we know what we are doing, what is There are the simple economics of supply and demand that there to talk about?’ The biggest problem with avoiding this will guarantee that the majority of practising artists will not fea- subject is that, through a lack of practice, artists do not acquire ture within the pages of the art press. But there is a particular the skills necessary to talk about their own and others’ work. It body of artists whose work remains almost entirely invisible in should be pointed out that explaining or justifying your work terms of critical responses, even though in many other ways through critical dialogue is not the same as writing a statement they can view their practice as successful through winning com- that uses the correct terminology and name checks the right missions, exhibiting in public galleries and working interna- artists/curators/cultural theorists. tionally. I’m talking here about artists who have developed an There are artists, groups and networks who are tackling these expanded practice, whose work is usually project- or process- issues. Although not a new one, the model of the peer critique based and often site-, context- and/or time-specific. It may is an idea that seems to be gaining favour. These monthly events involve live or performative elements and more often than not, expect a certain level of commitment from participants who have direct interaction with audiences. The fact that these practices to actively attend a given number of sessions and give a presen- often fall into the categories of community or public art, with tation of some aspect of their own practice. I’m sure this has their attendant negative connotations, goes someway to explain been going on more or less informally in groups in many areas, their critical invisibility. but specific schemes I’m aware of include a collaboration Many artists working in this way survive and even flourish between Space studios and Whitechapel Gallery in London and almost entirely independently of the gallery system, through a another recently set up in Bristol. particular market niche. Though many have criticised the Gov- New artist-initiated activities like these may begin to go some ernment’s (and in turn Arts Council England’s) insistence that way toward filling the critical vacuum that exists for many artists, audiences and social benefit should be at the core of arts fund- but this alone is unlikely to affect the larger national picture. It ing, these changes in funding policy have given many artists must also be the responsibility of those promoters, commissioner, working in the area of expanded practice the opportunity to funders and commentators, whose job it is to support the arts, to develop work which, social agendas aside, is genuinely explor- ask themselves what they can do to help develop an intelligent crit- ing new territory. The fact that so little of this kind of work ical environment in which critically engaged practices of all kinds receives critical acknowledgement just goes to show how much can flourish. art criticism in this country is still principally dependent on the Dominic Thomas is an artist. market-led gallery sector. He is also coordinator of Re.projects/SVA, Stroud and an advisor for the Artist Led Initiatives Advisory Service. He is based on Rack Hill, Chalford, So where else can artists turn for critical support? The idea Gloucestershire. He can be contacted on [email protected] of professional development has taken off in the last few years with organisations, schemes, funding and support coming This article is one of a specially commissioned set resulting from Quo Vadis, from many different quarters; Arts Matrix, The APD Network, a NAN event devised by Chris Brown and Louise Short that took place in Bristol and Cardiff 27-28 November 2004. The full set of articles, commis- ALIAS (Artist Led Initiatives Advisory Scheme), plus many sioned and edited by Chris Brown, along with introduction giving event back- other local and regional schemes across the country, not to ground and intentions can be found at www.a-n.co.uk>About a-n> mention a-n’s own contribution to this area. Whilst accepting Networks>Quo vadis It includes: that there is a need for artists to develop their skills and knowl- Phil Babot on the cross-border and international methods and achievements edge in relation to career development, many of these schemes of a selection of artist-led initiatives in South Wales. seem unable or unwilling to tackle the issue of the actual prod- Carolyn Black makes an inquiry into cultural identity and the nomadic artist. ucts of an artist’s labours. Questions about what, why and for Paul Glinkowski questions the circumstances that lead to or explain cultural whom, are often strangely absent. There’s no denying these are barriers, how such barriers can be breached or transformed into inviting thresholds to cross. complex questions, involving many different issues like artists’ Sarah Jane Pell’s Australian perspective on UK artists “’directing their own intentions, presentation, contexts, audiences and markets, not cultural traffic initiatives and charting new territories towards cultural legacy to mention the history of art. But without confronting these and sustainability”. NAN aims to offer critical exchange and feedback, so to keep this debate live, issues how can artists expect their work, as opposed to their why not discuss the issues in your networks and groups and contact us to dis- career, to develop? cuss further contributions to this section: [email protected] Tales of two cities: Brazil

Luiz Camillo Osorio on Rio de Janeiro and Ana Paula Cohen on S~ao Paulo. The first in a new international series commissioned by Deborah Smith.

28 Conference report a-n Magazine February 2005 Left: Marsares, Tambor, 2004. Photo: Paulo Innocêncio. Courtesy: A Gentil Carioca.

Below: Romano, O Inusitado Radio, 2004. Courtesy: A Gentil Carioca. A Tale of Art, Carnival and Resistance

Luiz Camillo Osorio provides an insight into the political and cultural landscape of Rio de Janeiro and the creative spontaneity that unfolds as a unique force of resistance there.

For a number of reasons, the city of Rio de Janeiro has been as revelers sing and dance to Carnival tunes of yesteryear. experiencing a time of crisis that has yet to succeed in taking Said crisis notwithstanding, throughout the year’s remain- away from it, or from those who live there, any part of its cre- ing eleven months and three weeks, Rio’s art circuit (whether ative drive. Thus, that informal quality that has always reflected official or alternative), creates its life and seeks to open new the carioca (someone who is born in the city of Rio de Janeiro) spaces for the production, reflection and circulation of contem- state of mind has likewise been cruelly imposed by the city’s porary art. Our most important institutions, such as the Museu economy. If, on one hand, this informality unsettles every man- Nacional de Belas-Artes and the Museu de Arte Moderna ner of political and cultural organisation, on the other hand, it (MAM) survive on meager resources yet they remain important incites a spontaneous creativity that currently unfolds as a references for anyone interested in becoming acquainted with unique force of resistance. Brazilian art. At MAM, the presence of the huge Gilberto This creative resistance is what makes the city’s cultural sur- Chateaubriand collection, on loan to the museum, guarantees a vival possible. Influenced by Rio’s dazzling topographical mix constant updating of the museum’s holdings. MAM is sur- of hills and sea, its coexistence with the flagrant social injustice rounded by Burle Marx’s landscaped gardens; set against Gua- of the shanty towns that silhouette the city only serves to nabara Bay and Sugar Loaf Mountain. heighten a contrast that would appear to render life even more From the beginning of the Lula (Labour Party President of urgent. Like the song by Fernanda Abreu and Fausto Fawcett Brazil, elected in 2002) administration, Fundação Nacional de says, “Rio forty degrees, city of marvels, purgatory of beauty and Arte, the National Arts Foundation (Funarte) has been the recip- chaos”. From within this chaos (not to be mistaken for mere ient of increased financial support and prestige in order to pro- barbarity), we behold an energy that suggests other possibilities mote the production and dissemination of contemporary art. of civilisation and alternative forms of organised fantasy, no Thus, a visit to its galleries (located in the city centre, at the his- matter how apparently remote. torical Palácio Gustavo Capanema building designed in 1936 by The organised fantasy closest to hand is Carnival Week, Le Corbusier, Niemeyer and Lucio Costa) represents a unique which is celebrated in February. Brazilian artist Hélio Oiticica’s opportunity to see work by artists. Close by, in Praça XV, is the initiation to samba music and dance took place on Rio’s Paço Imperial (the former Imperial Palace), the Centro Cultural Mangueira Hill, the heart of his experimental work and his Banco do Brazil, is only a short walk from the Paço and down- utopia of collective participation. Such is the power of Carnival town Rio visit to the Centro de Arte Hélio Oiticica (adjacent to – a spontaneous happening, a ritual devoid of myth (to appro- the Praça Tiradentes). We recommend going there on a week- priate the words of Lygia Clark). Though by no means as luxu- day, from Tuesday through Friday. First, because it lies within rious and operatic as that of Avenida Sapucaí, Rio’s street one of the city’s oldest quarters, surrounded by unusual stores Carnival has experienced a rebirth over the past few years and that sell a wide variety of goods at friendly prices; secondly, possesses a unique, Dionysian joyfulness of its own. This may because of the people who circulate throughout the area, ren- be observed in the work of artist Carlos Vergara, who has been dering the location more than appropriate to house the work taking photographs of the Cacique de Ramos bloco (or group of and documentation of Hélio Oiticica’s art. Carnival revelers) since the 1970s. There are several other A short walk from the Centro de Arte Hélio Oiticica (on rua “must-see” blocos, like Carmelitas (Carnival Friday, in the Santa Luis de Camões, the very same street) you will find A Gentil Facing page: Teresa quarter); Simpatia é quase amor (Carnival Sunday in Carioca, one of the city’s most promising new art spaces, cre- Edifício Copan [Copan Ipanema); or the cordão do Boitatá (Carnival Sunday morning ated by artists Ernesto Neto, Marcio Botner and Laura Lima. Building], Av. Ipiranga 200, São Paulo. Photo: on Rua do Lavradio) which moves through the streets of old Rio Through its support of projects and initiatives by important Lucien Yessouroun Right: Carlos Vergara, Bloco Cacique de Ramos, 1970.

artists such as Jarbas Lopes, Tiago Rocha Pita, Franklin Cassaro and cultural/political initiatives. As for contemporary art gal- and Ricardo Basbaum, this gallery has been making a unique leries, keep your eye on the Laura Marsiaj and Silvia Cintra gal- contribution to the carioca scene. leries in Ipanema, on Lurix in Botafogo, Arte 21 in Copacabana, In addition to art exhibitions, A Gentil Carioca also sponsors HAP in Jardim Botânico and on Mercedes Viegas in Gávea. experiments with sound and radio programming, such as those Luiz Camillo Osorio is an Art Critic and Professor of Aesthetics and Art History at Universidade do Rio de Janeiro and Pontifícia Universidade Católica, based of Marsares, Paulo Vivacqua and Romano – the latter has pro- in Rio de Janeiro, Brazil. duced an independent series of radio programmes. Artist/pro- Information on Rio de Janeiro during February 2005. Luiz Camillo Osorio ducer Helmut Batista’s Capacete Projects provides yet another recommends: space for contemporary ideas. By establishing partnerships with Rio de Janeiro Carnival, 5-9 February. a wide variety of cultural organisations (from film festivals, Roberto Marinho’s Collection of Brazilian Art at the Paço Imperial (the former Imperial Palace) until 13 February. schools and museums to cultural centres), he has rendered Retrospective exhibition of work by outstanding Venezuelan artist Jesus many experimental multimedia projects viable, sometimes Rafael Soto at Centro Cultural Banco do Brazil until 3 April. bringing us contemporary artists from Europe and Asia who Franklin Cassaro, one of the most interesting carioca artists to have appeared in the 1990s, will be on exhibition at the artist-run space A Gentil Carioca on sojourn in the city as artists-in-residence. He also publishes a Street Gonçalves Ledo. newspaper called O Capacete, a vehicle for young critics and net- Paulo Vivacqua and Romano’s independent series of radio programmes working between the various collectives that have spread www.oinusitado.com Capacete throughout the city (and the country) over the last decade. Rés www.capacete.net [email protected] de Chão may be singled out among the aforementioned carioca A Gentil Carioca collectives. It is run by artist Edson Barrus (who has turned his correio@agentilcarioca www.agentilcarioca.com.br home into a meeting place). Whether their purpose is reflection Visit www.a-n.co.uk>Organisations for full listing of Brazil contacts. or partying, they are breathing new life into artistic production

São Paulo in transit

Writer and curator Ana Paula Cohen lives ‘inside’ São Paulo, Brazil. She unravels a section of the vast megalopolis by circumnavigating the horizontal and vertical layers of the city centre.

“At this point Kublai Khan expects Marco [Polo] to speak of Irene as streets, thousands of people can be seen at any one time – it is seen from within. But Marco cannot do this: he has not suc- always in transit. Travelling from one point to another, by car, ceeded in discovering which is the city that those of the plateau call by motorbike, by foot, by bus and by metro, focused on the indi- Irene. For that matter, it is of slight importance: if you saw it, stand- vidual aim to reach their goal. In this manner, the city works as a ing in its midst, it would be a different city; Irene is a name for a city passage; infinite routes are drawn daily, connecting various in the distance, and if you approach, it changes. points that form the São Paulo of each inhabitant. “For those who pass it without entering, the city is one thing; it is This text is an attempt to delineate a particular itinerary, some- another for those who are trapped by it and never leave. There is the how connected to my daily life – considering that a singular and city where you arrive for the first time; and there is another city which subjective approach is probably the best way of starting to describe you leave never to return. Each deserves a different name; perhaps I this enormous city. On this proposed circuit, limited to the cen- have already spoken to Irene under other names; perhaps I have spo- tral area of the city, I propose a few stops related to artistic pro- ken only of Irene.” duction, exhibition or debate, therefore presenting a starting point Italo Calvino, Cities names 5, Invisible Cities. for those intending to get into the vast cultural scene of São Paulo. & From inside the complex structure that constitutes the city, São Axis 1: Paulo seems to be formed by layers – superimposed horizontal Avenida Paulista: This main street has a privileged geographi- layers, that interrelate to each other, creating the chaos evidently cal position situated at the top of the valley where the city origi- seen at first glance. Vertical cuts that are not necessarily the high nated in the late nineteenth century. During the course of the buildings all around, but limits, sometimes invisible, that cir- twentieth ccentury it became São Paulo’s financial centre. cumscribes the reality of each of the inhabitants of the city. It is Approximately 450,000 people circulate everyday over the as if we live surrounded by a kind of transparent packaging length of its 2,800 metres. from where we can see other lives acting in the same urban sce- Landscape: Banco Real, Casa das Rosas, Banco Bradesco, nario without necessarily touching them. Porto Seguro, Banco Itaú, Galeria do SESC, Instituto Itaú Cul- São Paulo is an ‘inner’ city. There one lives inside: inside the tural, Frans Café, Unibanco, Metrô Brigadeiro, Instituto Pasteur, houses, flats, clubs, cars, bars, theatres, galleries... On the Banco City Financial, United Airlines, Banco de Boston,

30 Tales of two cities a-n Magazine February 2005 AeroMéxico, Rede Gazeta de Rádio e Televisão, Banco Mercan- workshops. The combination of extremely diverse activities in Below: View of Rua Oscar Freire til do Brasil, FNAC, HSBC, Petrobrás, Banco Sudameris, Drog- the same space produces a lively and intense atmosphere. with Rua Padre João aria São Paulo, Banco de Tokyo, FIESP, Banco Itaú Personalité, Near the end of Minhocão II: Casa Belfiore, Rua Souza Lima, Manoel, São Paulo. Left: Galeria do SESI, CityBank, Banca de Revista Itapeva, Banco Cen- 67. In the Barra Funda neighbourhood there is a small bar run Galeria Luisa Strina (black building). Centre: tral do Brasil, Doce Aroma Café, Banco Nossa Caixa, Museu de by the artist Diego Belda where you can drink cold beer and lis- Work by Brazilian artist Arte de São Paulo, Banco Banespa, Parque Trianon, Banco do ten to music performances. He lives and works in the same Renata Lucas, Cruzamento (crossing), Brasil, Bob’s Burger, Conjunto Nacional, Rua Augusta, Metrô block and encourages his friends and clients to change their wood on asphalt, Consolação, América Burguer e Pasta, Hotel Ibis Accor, Banco daily itineraries in his favour: to get to the bar, they have to cross 18mx18m, 2004, de La Nación Argentina, Igreja São Luis, Livraria Belas Artes. the city to the west side. installed at the crossroads as part of the A particular consideration on Axis 1: In 1997 the Brazilian São Paulo has changed according to the development of the exhibition ‘Fragmentos e artist Cildo Meireles installed fifty screws made of gold on megalopolis: in fifty years the population has increased from souvenirs paulistanos Avenida Paulista. The work extended the length of the street two- to twenty-million, and the city centre has migrated many vol.1’, 2004. Photo: Edouard Fraipont with tiny and valuable ‘sculptures’ that dealt directly with the times, leaving the original centre with an old, if not decrepit feel. perception of passing pedestrians. It proposed to those who Maybe for those just passing through the city, the only way to could no longer, in their haste, perceive the details of their over navigate the infinite routes, is to walk aware of the way. With saturated urban landscape, the possibility of finding a golden luck, a few golden screws might be found. screw on the street. Ana Paula Cohen is an independent curator and writer based in São Paulo, Close to the beginning of Avenida Paulista: Centro Cultural Brazil. Translation: Bibi Serafim, London, UK. São Paulo (CCSP), Rua Vergueiro 1000. A cultural complex built in the 1980s, run by the town hall. It provides exhibition Contacts: Commercial galleries: space for young artists, dance and theatre performances as well www.galeriavermelho.com.br, www.galerialuisastrina.com.br, www.casatri- as a library and a cinema, with an interesting programme of angulo.com, www.fortesvilaca.com.br. www.britocimino.com.br national and international films. All activities are free and regu- Centro Cultural São Paulo: www.prodam.sp.gov.br/ccsp larly attract audiences of different ages, cultural backgrounds Galeria do SESC: and social classes. www.sescsp.com.br In the middle of Avenida Paulista, down one of its side EXO: streets: Galeria Luisa Strina, Rua Oscar Freire 502 (see image www.exo.org.br Digital magazines: on the right). Among many commercial galleries in the city www.uol.com.br/tropico, www.rizoma.net engaged in contemporary art such as Galeria Casa Triângulo Graphic designers/ visual artists web pages: and Galeria Fortes Vilaça, the oldest is Galeria Luisa Strina. It www.detanicolain.com.br, www.epwww.com, www.cisma.com.br, celebrated its thirtieth anniversary in 2004. www.lobo.cx General information including cultural spaces, museums, galleries, maps: Close to Avenida Paulista: Galeria Vermelho, Rua Minas www.mapadasartes.com.br Gerais, 350. A commercial contemporary art gallery opened Visit www.a-n.co.uk>Organisations for full listing of Brazil contacts. almost three years ago to create a space for developing experi- mental projects by young artists, curators, musicians and graphic designers. Apart from the exhibitions, there are unusual presentations of music, seminars and workshops.

Axis 2: Elevado Costa e Silva, well known as Minhocão (big earth- worm). An elevated bridge with an expanse of 3,400 metres that connects the centre to the west part of the city. When built in 1970 it cut through residential neighbourhoods getting as close as five metres to the forth and fifth floors of residential flat win- dows. According to an urban myth, the bridge started at the mayor’s house and ended at an industrial building owned by the same mayor who used to take the route every day. The area has depreciated due to the construction and that in turn has seen a gradual process of degradation. Nowadays the monstrous archi- tectural structure has acquired some weird beauty from its odd nature and bizarre existence. Near the beginning of Minhocão: Edificio Copan, Avenida Ipiranga 200. A project by the architect Oscar Niemeyer located in the old centre. This wave amongst a sea of buildings is a pic- ture of Brazilian modern architecture of the 1950s. Idealised to be a place where communities from diverse cultural back- grounds could live in harmony, the smallest flats are approxi- mately 26sqm and the largest 350sqm. It is estimated that around 5,000 people live in its 1,160 flats. Edificio Copan flat B2409: EXO experimental org. From 2002 the laboratory of interdisciplinary research, information and production has proposed talks, publications and residencies for international artists and writers (see image on page 28). Near the end of Minhocão: Sesc Pompéia, Rua Clélia 93. The space was rebuilt by the architect Lina Bo Bardi – the same architect of the Museu de Arte de São Paulo on Avenida Paulista. The programme includes exhibitions, concerts, dance and theatre performances, video works, and offers courses and Great excursions

Alice Maude-Roxby on photographing Michael Stevenson’s Rakit.

When I was a sculpture student, I spent too much time indoors, Above: like to thank Mr Beuys for coming all the way from Germany,” as did most of my year. We occasionally made study trips away Michael Stevenson, she said and he responded, “AND THANK YOU TOO!” before Rakit, 2004. Photo: Alice from campus, and perhaps to improve our health. These excur- Maude-Roxby continuing on with his lecture. Stranded, the woman remained sions were generally to open air sculpture parks in the North of frozen on the stage, hands to her cheeks unable to exit, part of England. I have memories of wet afternoons in fields, of being the piece as I remember it, enclosed between blackboards and part of a group arranged around a Henry Moore sculpture. Tap- Beuys. ping the sculpture with our umbrellas, we would listen to how I recall this excursion here for various reasons that I will elab- the object resounded, checking whether it was bronze or fibre- orate on as I describe another more recent experience. Photo- glass. Given this experience of excursion, it was a very remark- graphically recording an event for New Zealand artist Michael able day when we packed into a coach and set off to Leeds City Stevenson, I reflected how Stevenson’s work takes on issues Art Gallery to attend a lecture by Joseph Beuys. similar to those raised by Beuys. Regarding the position of the Beuys’ lecture was a complex spoken epistle to which we artist as player within economic exchange, the structure of the received no introduction. It was an incredibly visual experience work operates as a series of events and exchanges which can be as we watched something materialize before our eyes that day. and are orchestrated to a degree, but will ultimately be influ- To make certain things evident to us, Beuys repeatedly drew and enced by chance and effect beyond the artist’s control. And there wrote onto a series of blackboards that he moved about the is an odd element of synchronisity involved in my presence at stage. Chalk written words, drawings and diagrams referenced that Beuys’ lecture years ago, and just two months ago on a and described the responsibility of the artist in relation to the beach in the South of England. economy and global politics. And there was the image and noise I recently found a video documentation of that particular of the artist himself, dust rising as he hit and scraped the chalk Beuys lecture I attended. I am astonished to see myself recorded across the blackboard. Unpredictable and unplanned incidents as part of the event. As the camera scans the audience my face entered into this scenario. appears in close up, mouth wide open. The discovery seems At one point halfway through the lecture, having mistaken a doubly significant as I am currently entrenched in the task of pause in Beuys’ delivery as a signal that he was coming to a writing about performance documentation. Over the past years close, a woman from the gallery went onto the stage. “We’d all I have tracked down and interviewed photographers who docu-

32 Recording performance a-n Magazine February 2005 mented seminal performance events. I am specifically inter- Below: beach to cover the event and take photographs. Expecting sea Michael Stevenson, ested in discrepancies that occur between the actuality of a lived Rakit, 2004. Photo: Alice scouts in uniform, he requested that they put them on. Within event and those still photographic images that exist as a repre- Maude-Roxby minutes they returned from the hut, decked out in traditional sentation of it. It is from this position, tracking the photographic sailor collars. Everyone seemed to suddenly jump into action. record alongside the experience of actually being there, that I The photographer rearranged key signifiers of the piece into one recorded the making and launching of Michael Stevenson’s raft image, directing them to line up behind the raft. Recognising on Whitstable beach in October 2004. that the video cameraman was an important part of the event A consideration of the mechanics and repercussions of eco- the pressman instructed that the camera and tripod be pulled nomic exchange is at the heart of Stevenson’s recent works: into his camera frame. He then directed cameraman Jeremy Trekka (Venice Biennale 2003, where Stevenson represented Millar to look through the viewfinder despite the fact that the New Zealand) and Rakit (Herbert Read Gallery, 2004). Rakit camera framed up absurdly, focused toward the artist’s shoe. constitutes one of a series of exhibitions and actions. In this The video made that day forms an important element of sequence, a raft is built, sailed, exhibited, and exported to a new Michael Stevenson’s exhibition, Rakit, shown at Herbert Read location before finally being sawn up by collectors (of the Twodo Gallery. Objects in the main gallery include the raft (hoisted up Collection) between whom the work is thus divided, made into on piles of National Geographic magazines), maps, as well as vit- new objects, and exhibited in its new constitution at another loca- rines of objects which contextualize the Fairweather voyage and tion, in this case, the NAK Neuer Aachener Kunstverein, Aachen make visible a series of economic exchanges (including a highly in Germany. The making of photographic and video documen- desirable woven beaded version of the front cover of Marcel tation of each of these elements surrounding the central object Mauss’ book The Gift: The form and reason for exchange in archaic becomes an essential part of the process. In Rakit, Stevenson societies). My still photographs are also to be seen. Projected in a considers a trajectory of events sparked by Scottish artist Ian Fair- space alongside the main gallery, much of the video is shot in weather. In 1952, Fairweather, an established artist with works close up but the sound recording corresponds to a much wider held in the Tate Collection, set off from Australia where he had framework. The sound, as it corresponds to images and inci- been resident and had become destitute. The Times newspaper dents unseen in the video, surprises me with its power to evoke reported: “He built a triangular raft with three old aircraft fuel a vivid representation of the action. I realise that my experience tanks which he found in a dump, and the minute sail was fash- of photographing the day was entirely mute, I had concentrated ioned from three panels of old parachute canopy”. After sixteen solely on image, whilst being there I apparently had heard noth- precarious days at sea, his expedition ended when Fairweather ing. What now seems most evocative to me in the video is the shored up on the tiny island of Roti. He was looked after by sound of the object being made: metal and wood pulled across natives, who subsequently broke apart his raft to put the materi- stone and the voices of the sea scouts. And in my memory of the als to their own use. Fairweather was deported, and British Beuys lecture, jolted into the now by the video I recently saw, authorities paid his passage to England. Immediately following and the coincidental overlap with Stevenson’s Rakit action, the his arrival, authorities reclaimed the passage debt, putting Fair- sound of chalk pulled across board seems the least mediated weather to work digging ditches in Devon. and most resounding record of the moment. Stevenson asked me to produce a ‘classical’ photographic Alice Maude-Roxby is an artist. documentation of the day spent on Whitstable beach during Her book On Record: advertising, architechure and the actions of Gina Pane, co-authored with Francoise Masson, is published by Artworks. which, with the able help of a group of local sea scouts, he made See www.artworks.co.uk and sailed his raft. He specified to me that the photographs should be shot in black and white with an analogue rather than a digital camera. I added to this idea of ‘classical’ the restriction that I would actively avoid any deliberately artistic framing, blur, or recording of ‘off camera’ moments, attributes I feel romanti- cize performance through photography. In doing so I felt I was also close to the actuality of the event, in the course of which Stevenson made no deliberate eye contact or exaggerated pos- turing for the camera. I experienced the piece as a series of different viewpoints, looking through the camera into wildly contrasting light condi- tions initially in the darkened sea scout hut, in bright sunlight on the beach and finally at sunset, as the raft was launched into the water. I saw the action through a series of different lenses. Wide angle shots took in the initial action of the sea scouts as they straightened rope, working in teams and pulling it so that it extended from their hut right along the promenade. In close ups I documented the various processes: as smoke steamed up my viewfinder I recorded the sealing of aluminium casters with tar, upon which scavenged wood was bound to the structure with rope. To capture the sewing of the sail and its attachment to the raft, I moved progressively further and further from the object in order to frame up its entirety as it physically grew. Once the raft was launched onto sea with Stevenson on board, I used a series of lenses allowing myself to close in and pull away as the vessel travelled on its voyage in the direction of Sheppey Island. During the day one particular incident reminded me of the gallery woman entering into Beuys lecture. The event height- ened my awareness of the relationship of the work I was record- ing to very different conventions. A press reporter arrived on the Now & then...

Edith Marie Pasquier interviews Ali Zaidi of production company motiroti. Introduction by Manick Govinda.

Above left: The company motiroti cannot be pigeon-holed into simple art- central show that ran for the entire year in the same building. Colour Games, lady with form categories. Its work inhabits multiple worlds – the overlap He was Director of Design for the opening and closing cere- a veil and cloves, part of a series of images between identity, language, history, geography, politics, race and monies of the Commonwealth Games 2002, and Artistic Direc- projected in a window, the mythic. The company’s collaborative practice is a deliberate tor of Celebration Commonwealth, for the Queen’s Jubilee Parade exhibited within ‘The Seed The Root’, a series act to muddy the waters of art-form specialism, to encourage (London, 4 June 2002), where 4,000 people presented a fresh of installations and cross-disciplinary and cross-cultural enquiry and interest. Arts and exciting perspective of the Commonwealth. The Golden performances sited in Council England (London) views motiroti as “a model of new Jubilee Commemorative Buckingham Palace Balcony Hanging Brick Lane and Spitalfields Market, 1995. practice, especially for digital arts, participatory practice and col- was designed by Khan and motiroti and made by the Royal Photo: Ali Zaidi laborative work. It has a strong international reputation, with a School of Needlework. Khan has also completed design projects particular focus on diaspora communities”. For 2005/06 for IBM, Coca-Cola and Ericsson. He is an advisor to the British Above right: Photograph of a papaya, motiroti will receive a ninety percent increase in their funding Government Departments’ for Culture, Media and Sport, and exhibited within Clifton in recognition of this fact. Education and Skills. restaurant, as part of ‘The Seed The Root’, a series motiroti was set up by Keith Khan and Ali Zaidi in 1990. Khan stepped down as Co-Artistic Director of motiroti in of installations and Khan describes himself as a “spectacularist”. Born in Trinidad, summer 2004 and has recently taken up the post of Chief Exec- performances sited in Khan was trained in fine art at Wimbledon School of Art and utive of Rich Mix, a £20million major new arts and cultural cen- Brick Lane and Spitalfields Market, 1995. Middlesex University and worked in carnival for many years. tre in East London due to open in autumn 2005. Photo: Ali Zaidi Recent commissions include Escapade, featuring 150 dancers Ali Zaidi won a British Council Fellowship for his masters at and film projection, staged on the buildings of the South Bank Chelsea Art School in London. Indian by birth, Pakistani by Centre, and Waterscapes, a performance series in and around migration and now British by choice, Zaidi’s work centres on the fountains of Somerset House in London. Khan has been issues of identity and representation creating fresh, participa- involved in national cultural projects on many occasions, includ- tory experiences for a wide range of audiences. Recent projects ing the Millennium Dome where he designed the opening cer- include Indian Call Centre interviews for Alladeen, screened at emony and worked with Mark Fisher and Peter Gabriel on the The Whitney Museum, New York, as part of ‘The American

34 Collaborative relationships a-n Magazine February 2005 Effect’; Mix Match, a live performance presented at Romaeu- “It was one of those strange fascinations... it was ropa Festival& 2003; Fresh Masaala, an installation presented at Warwick Arts Centre and The Lab, San Francisco and touring all about trying to understand each other’s to South Africa. Zaidi is currently working on cutout, a video cultural language” triptych – developed collaboratively with New York’s dbox – which explores the alleged homogeneity of the twenty-first cen- tury world and will tour to Singapore, New Zealand, South Africa and India this year. The newest creative arrival to motiroti is Indran Selvarajah. Fresh from studying at the Oxford School of Architecture, Sel- varajah’s work revolves around the built environment and incor- porates photography. With Sri Lankan/Malaysian heritage, his past works includes a photographic essay of Britain, A-Z of Brown Britannia. His work has appeared in publications such as The Independent newspaper’s magazine, The Face and I-D Mag- azine. Edith Marie Pasquier interviewed Ali Zaidi about motiroti’s integral approach to creative collaboration, its oppositional stance to the notion of artist as demagogue or as the single authorial voice. “It was one of those strange fascinations... it was all about try- ing to understand each other’s cultural language, both of us are of Indian descent but Keith is from the Caribbean, whilst I am from Pakistan. We were aware of our role as ambassadors for Below: our culture and yet we were more than the sum total of our par- Geniescape, a design ent’s nationalities. Both of us saw a shorthand in each other, we environment to didn’t labour over certain things – they were a given. It was as complement the London season of Alladeen at the simple as breathing,” Ali Zaidi and Co-Director of motiroti Barbican centre, light explains, recalling his first brush with Keith Khan in the late installation, July 2003. 1980s. Zaidi was taken with the iconoclastic scrabble of Khan’s Photo: Indran Selvarajah visual language, which he felt brought a playful unpacking of Asian culture and performance into a Britain coping clumsily with labels such as ‘multi-cultural’ and ‘Asian’: “For about a year-and-a-half Keith invited me to work with him”, he explains. “We spent that time challenging and progressing our artistic skills. It was our second language”. Reductive assumptions on ethnicity were, it seems, never going to be relevant to his artis- tic language. Exposure to defying a singular understanding of culture was the beginning of Zaidi’s personal journey to the heart of Lon- don’s cultural ferment in performance and live art during the early 1990s, and onward to a lengthy collaboration with Keith Khan through performance and visual installations, under the jointly formed company, motiroti. Within motiroti, Ali Zaidi charted a differing but complementary course, delving deeper into interventions on identity and representation and the many layers of mediation using intimate performances, photography and new technologies to explore the spectacular. Meanwhile, Khan generated germinal material that led to large-scale per- formances involving sculpture, dance, visual displays and car- nival. In a collaboration as profoundly intertwined and interdependent, it was inevitable that the roles of each collabo- rator would cross and merge to the point that who did what was irrelevant, even meaningless to the final artistic product. Less predictable were the outcomes, happenings and other collabo- rations that developed between them over the last decade. Zaidi and Khan culminated their lengthy creative partner- ship with two defining projects: Rainbow of Wishes (2002) and Alladeen (2003). Rainbow of Wishes was a central part of The Queen’s Golden Jubilee Celebrations, and was of an unprece- dented scale. A commentator remarked, “In June last year when the Commonwealth celebrated the Queen’s Golden Jubilee in London, the parade was not what anyone had expected. It per- haps represented something rarely seen in the Mall or anywhere else: a new idea about the world”. Alladeen, a cross-media stage performance, music video and web project in collaboration with the US-based ensemble, The Builders Association, opened to rave reviews in the USA and won an OBIE award. Alladeen high- Right: ‘Mix & Match’, a live event presented at Roma Europa Festival where clubbers were photographed and the portraits were projected using dynamic database, 2003. Photo: Ali Zaidi

lights the philosophical issues of media and technology as they logue on cultural identity and place, as well as providing the cat- impact global culture, and bridge the ‘First World’ with the alyst to a reinvention of their roles and direction. “In 2002, we ‘Third World’. Specifically, the piece looks at the contemporary faced the event that expanded us and challenged us in the phenomenon of international call centres where Indian opera- biggest of ways and that was the Rainbow of Wishes for the tors are trained to flawlessly ‘pass’ as Americans. The perform- Queen’s Golden Jubilee parade – it was a big stumbling block ance explores how we function as “global souls” caught up in and yet it freed us to reinvent ourselves, allowing us to acknowl- circuits of technology, and how our voices and images travel edge our separate directions,” Zaidi states. from one culture to another. Zaidi continues, “Alladeen was also important for me for dif- No matter how different their backgrounds, no matter how ferent reasons. It developed earlier collaborations and was a joint far flung their individual projects, their longstanding bond production with The Builders Association. Our work within the- brought them together time and time again. Then between atre had stopped. Those delicate balances and systems that we these two projects their collaboration changed. Something of an were developing would inevitably fall flat because the hierarchy arrival and a departure for both artists, both Rainbow of Wishes of theatre conventions would spoil that for us. All the typical dis- and Alladeen presented a sophisticated end note to a layered dia- tinctions between actor and performer, writer and deviser

36 Collaborative relationships a-n Magazine February 2005 became a nightmare. Never again. Then going back to work on we look for acts of resistance that develop our language, our a project like Alladeen made perfect sense. We had to reconnect, ideas. Working with people from different practices pushes our it also meant that the writer was not supreme... there was a lot concepts further, negotiating space and language in the process. of research material collated through interview and visits to call It is quite important for me that there is a lack of control”. centres. The writing took place on many levels. It was about motiroti has far from run its course; Zaidi explains the com- exploring the psyche and the context to trigger off other things. pany’s new direction. “The underlying theme of Alladeen was The best thing was that there was no sense of compromise here, how new technologies affect us in our own way of life, distanc- there was not a ‘theatre-thinking’ that it was going to be an ing us rather than bringing us together. I am not interested in Asian production, and this was really crucial for us to go out of using new technologies per-se if it is not going to connect us. the country to work... as it has hugely changed the odds against motiroti will continue to develop dialogues around participation. us over here. Now the perception is that motiroti can develop I am keen on devising creative strategies whereby the whole work for an international audience – it is odd how you have to notion of participation and performance is questioned, using go out of your own space to reclaim your own space with the new technologies to create a language many of us can under- way you want to work.” stand. I’m looking at those moments of blurring.” Given the way The Seed, The Root (1995) was constructed Meanwhile, a conversation at Border Control Los Angeles through collaboration and assembled on site, surprises were Airport a week later presented an unexpected throwback to my inevitable. Eight installations in streets between Shoreditch and meeting with Zaidi. After following security checks and finger- Aldgate East underground, passing through Brick Lane and Spi- prints, the Border Control Officer took my picture with the digi- talfields Market traced an intelligent work that questioned tal camera and asked where I lived. “In London,” I replied. authenticity and mapped a vital diversity. Ali Zaidi and Trinida- “What is the city like?” he asked. I spoke. Then it was his turn dian artist, Steve Ouditt in collaboration with other artists and to answer my questions. Where do you live? “In Los Angeles, I performers, developed a series of interventions that took place used to live in New York but the city is different there... every- in October 1995. In one installation restauranter Shams and his one is separate, no integration. It’s important not to feel distant family rewrote ‘Indian cuisine’ to a familiarised British market. from each other. I need to be in a city that brings me together Shams and his family quietly debated aspects of invisibility, with other people.” Fleetingly, I felt part of motiroti’s new work authenticity and diversity as the audience was encouraged to caught in a moment that defined a micro exchange, where con- taste ‘Bangladeshi cuisine’ as if at Shams’ home, sharing their text, audience and spectator blurred into a subtle narrative of culture, extending their own house to the audience, enlarging time, place and perception. the food sold at the market: art subtly re-shifting our sense of life Edith Marie Pasquier is an artist and writer. and the everyday. Further details of motiroti’s projects and artist initiatives: www.motiroti.com At times though the organisation is not looking for similar- www.alladeen.com ity, but difference. Zaidi elaborates, “In addition to the familiar, www.thebuildersassociation.org

“it is odd how you have to go out of your own space to reclaim your own space with the way you want to work”

Left: Kamalangani Kalayathana Temple Dancers and Drummers performing under the Rainbow of Wishes arches in the Celebration Commonwealth parade for the Queen’s Golden Jubilee, 2002. Photo: Indran Selvarajah To advertise in Opportunities To submit a free listing contact the Communications +44 (0) 191 241 8000 Opportunities and Sales team on F: +44 (0) 191 241 8001 +44 (0) 191 241 8000 [email protected] Connecting visual and applied artists with work. Sections include: Academic, F: +44 (0) 191 241 8001 Deadline: 7 Feb for March issue Awards, Beyond the UK, Commissions, Competitions, Events, Exhibiting, [email protected] a-n magazine Jobs, Mail Art, Professional development, Publications, Residencies, Deadline: 8 Feb for March issue Deadline: every Tues for weekly Selling. updates on www.a-n.co.uk

Please note: Listings are not apply to the relevant School or development support. Artist sought to with their living expenses (not fees) while validated, so we strongly advise Department. raise profile of lowland peat bog near registered for study or research at an APPLICATIONS FORMS FROM: Stephen Doncaster. Opportunities to run approved instititution of higher education you to thoroughly research before Wallis, Senior Administrative Officer workshops. in Great Britain (ie England, Scotland, and sending off any slides, work or (Postgraduate), Faculty of Arts and WHERE: Humberhead Peatlands National Wales). Any subject or field of study will money. Humanities, The University of Reading, Nature Reserve (Thorne and Hatfield be considered, at postgraduate or Whiteknights, Reading RG6 6AA, 0118 Moors). postdoctoral level. The criteria are the Opportunity listings are free but 3788067, [email protected] WHEN: May-June. proven needs of the applicant and their priority is given to artist-led FURTHER INFORMATION FROM: Student FEE: £4,000 incl materials. academic calibre. Financial Support Office, The University of APPLICATION DETAILS FROM: The Art CONTACT: The Grants Administrator, projects and inclusion is not Reading, Whiteknights, PO Box 217, House, Doncaster College, Waterdale, BFWG Charitable Foundation, 28 Great guaranteed. Arts organisations, Reading RG6 6AH. Tel: 0118 3787430, Doncaster DN1 3EX, 01302 368555, James Street, London WC1N 3EY, 01732 with opportunities requiring [email protected] minicom 01302 326187, info@the- 321139 or 020 7404 6447, guaranteed inclusion, or who have www.rdg.ac.uk/Studentships/ arthouse.org.uk [email protected] late breaking opportunities to DEADLINE: 15 February DEADLINE: 28 February www.bcfgrants.org.uk promote, are advised to use paid See display ad APPLICATION FORMS: by email only from Art vacancies [email protected] for advertising. NESTA Art Technician WHAT: NESTA is seeking nominators for Studio Assistant Bursary Scheme Please go to www.a-n.co.uk>a-n WHO: technician wanted for preparation its Fellowship programme to identify WHO: Somerset-based applicants with magazine>join in>advertising for of all art classes including b/w people pushing the boundaries of existing commitment to working in the media rates or contact [email protected] photography, printmaking, ICT, ceramics thinking and practice across science, sector. WHAT: to assist in running of the +44 (0)191 241 8000 for a and sculpture. Previous experience technology and the arts. desirable. INFORMATION FROM: Somerset Film and Video centre. quotation. WHAT: to join art department at boys’ www.nesta.org.uk/nominator WHERE: Somerset Film and Video Ltd, The independent day school working Tues, DEADLINE: 14 February Engine Room. Opportunities listings are published Thurs and Fri during term time. See display ad WHEN: twelve weeks involving twenty for the personal use of a-n readers WHERE: Whitgift School, South Croydon. hours per week commitment. and subscribers, in support of their APPLICATION FORMS FROM: Bursar’s Art Plus 2006 Awards DETAILS: free access to equipment on an Assistant, Whitgift School, Haling Park, WHO: organisations and artists in the agreed basis, access to training and professional practice. Note that South Croydon CR2 6YT, 020 8688 9222. South East of England. courses. The holder of the bursary will be neither the Opportunities listings DEADLINE: 7 February WHAT: award scheme for creative ideas, to on an accelerated learning curve with nor any other part of this See display ad improve the environment – whether digital editing and production skills. publication may be reproduced, streets, schools or other public spaces – by FEE: travel expenses usually paid. copied or transmitted in any form Rye Art Gallery including the creativity of artists in their CONTACT: Duncan Speakman or Will Bix, WHO: manager with experience in design. Somerset Film and Video Ltd, The Engine or by any means without promoting exhibitions and sales. AWARD: up to eight development awards Room, 52 High Street, Bridgwater TA6 permission of the Publisher. WHAT: required during redevelopment at for individual artists or organisations of 3BL, 01278 433187, the Gallery. The appointment is part-time up to £10,000; up to four final awards of [email protected] for one year. up t £50,000 for organisations and www.theengineroom.net Academic NEW! INFORMATION FROM: Anthony Kimber, £5,000 for individual artists. DEADLINE: ongoing 01797 222831, INFORMATION: to talk to someone about Research Studentships [email protected] applying to the scheme 0845 300 6200, Beyond the UK WHO: artists and theoreticians. See display ad textphone 01273 710659, WHAT: up to twelve full and part-time [email protected] or visit Roswell research studentships in a number of Opportunity for Artist www.artscouncil.org.uk/artplusawards WHO: professional artists working in book areas including Fine Art and Critical WHAT: part-time opportunity for artist in DEADLINE: 3 May art, drawing, installation, multi media, Theory: The body and representation at. art/architecture practice involved in pottery, sculpture, and woodcraft. Each studentship will pay tuition fees at strategic public art and urban 2005-6 Scholarships WHAT: to provide artists with an the UK/EU rate and also maintenance regeneration. WHO: female PhD students from any opportunity to concentrate on their work related to the rate paid by the appropriate TO APPLY: by letter to muf, 49-51 Central country, studying in the UK with a high in a supportive communal environment Research Council for the research project. Street, London EC1V 8AB. degree of proven academic ability. for periods of six months to one year. Interdisciplinary applications and DEADLINE: 14 February WHAT: The British Federation of Women WHERE: USA. applications from overseas students are See display ad Graduates (BFWG’s) Scholarship Fund WHEN: one year. welcomed. Applicants will be expected to assists women in the final year of studying FEE: individual houses/apartments and apply for, and accept if offered, AHRB, Awards for a PhD. Scholarships are awarded on separate studios. Final exhibition with a SAAS or ORS Studentships or other the basis of academic excellence, rather stipend of $500 per month. All living and sources of external funding to attend this Gunk Foundation than financial need. travel expenses paid by the artist. University, although applications are WHAT: charitable foundation that aims to CONTACT: 4 Mandeville Courtyard, 142 TO APPLY: the decision to award a grant is welcome from candidates who do not support the production of non-traditional Battersea Park Road, London, SW11 4NB, based entirely upon the slide portfolio. have access to any other funds. public art projects. 020 7498 8037, Artists are required to submit at least 15 Candidates not selected for a full TO APPLY: potential applicants are urged [email protected] and not more than 20, 35mm colour studentship will be considered for one of to visit the foundation’s website to see the www.bfwg.org.uk slides. Application form, CV, sample of eight £4,000 Arts and Humanities types of projects currently supported, DEADLINE: 15 April work, SAE, statement of intent. $10 Bursaries, £1,000 of which will be used as www.gunk.org application fee. payment for teaching duties. The BFWG Grants CONTACT: Roswell Artist-in-Residence conditions for these awards are the same More than 12 WHO: women graduates from Britain and Program, RMAC Foundation, PO Box #1, as for the studentships. WHO: visual artists. overseas. Roswell, NM 88202, USA, +1 505 WHERE: The University of Reading. WHAT: artists’ bursary scheme offering an WHAT: The British Federation of Women 6226037, F +1 505 6235603, WHEN: to start Autumn 2005. emerging visual artist a residency to Graduates (BFWG) Charitable Foundation [email protected] www.rair.org TO APPLY: make initial contact with and develop artistic practice with professional offers grants to help women graduates DEADLINE: 15 December 2005

38 Opportunities a-n Magazine February 2005 VISIONS OF SCIENCE A NEW AWARD for artists inspired by science

Sanskar I - ‘Peace’ by Sally Child

Visual artists, whose work has been inspired by science, are being invited to enter a special new award in the national Novartis and The Daily Telegraph Visions of Science Photographic Award, supported by the Science Photo Library. Whilst the original artwork may itself be a painting, sculpture, photograph or installation, the entry should be submitted into the awards as a photographic image. The prestigious panel of judges, which includes Professor Sir Christopher Frayling and Dr Mark Lythgoe, will judge each entry on both the original artwork – it’s creativity and ability to share and express scientific ideas – and on how it is portrayed photographically. The winner of this special award, which is sponsored by the national Science Learning Centres, will receive £500 in prize money, significant publicity and their image will join the national Visions of Science touring exhibition. For more information visit www.visions-of-science.co.uk or call: 020 7613 5577 for an entry form.

CALLING ALL STUDIOS – CALLING ALL STUDIOS

Acme Studios has undertaken a detailed survey of artists’ studio provision in England. A report will be published in April 2005.

The project, supported by Arts Council England, will create the first comprehensive register of studio groups and organisations and present detailed statistical data to help identify needs. The project will demonstrate the value and raise the profile of the independent studio movement. The survey follows the important studio conferences in July 2003: Creating Places in London and Making Spaces and Opening Doors in Sheffield. The project will contribute towards the creation of a national network of studio organisations to increase access to advice, information and capital. The survey and register is limited to non-profit groups or organisations in England, either currently managing or planning to develop studio space and focuses on projects which are wholly or mainly for fine artists.

If you have not already been contacted, to ensure that you are included in the register, please contact:

Calum F Kerr, Acme Studios, 44 Copperfield Road, London E3 4RR. Telephone/Minicom: 020 8981 6811 Fax: 020 8983 0567 Email: [email protected]

Supporting art and artists since 1972 www.a-n.co.uk Bogliasco Fellowships at Liguria share the overall cost of the exhibition WHERE: Germany. Kio-A-Thau Culture Society Centre equally. This could be approx 80,000 yen WHEN: two years. WHO: visual artists including WHO: applicants with significant for two weeks (approx £400). Artists will FEE: individual apartments and studio photographers, writers, performers, achievement in their disciplines, also be responsible for the costs of spaces. Assistants are on hand and musicians, and filmmakers. 2D, 3D, commensurate with their age and making and transporting their works. technical facilities include digital video documentary film, experimental film, experience. DETAILS: the project will include an editing and a sound studio. The media, multi media and performing arts. WHAT: fellowships for qualified persons accompanying website and catalogue of scholarship covers accommodation and WHAT: the 4th Kio-A-Thau artist-in- doing advanced creative work or scholarly works. Gary McLeod will handle studio rent. residence programme provides domestic research in a range of disciplines organisation and administrational duties. TO APPLY: the artistic works and and international artists with the including: dance, film or video and visual Curation will be by Gary McLeod and documents, which the artist sends to the opportunity to reside in the 103-year-old arts. Yasuko Arita (director of the Earlyeee Mousonturm, forms the basis of the historical site, Ciao-Zih-Tou Sugar refinery, Approximately fifty fellowships awarded Gallery, Osaka). Participating artists will decision. Three studios are for young to develop their new artistic projects. each year, scheduled during the two be asked to assist wherever possible. Frankfurt artists and one studio is for WHERE: Taiwan. semesters of traditional academic year. TO APPLY: send images or videos on CD or guests from abroad. WHEN: residency lasts for five weeks. With maximum capacity of sixteen DVD together with CV, a concise written CONTACT: Künstlerhaus Mousonturm, FEE: there is an allowance for every artist. persons, the study centre provides an description of artist’s practice and chosen Waldschmidstraße 4, 60316 INFORMATION FROM: Kio A Thau Culture intimate setting for artistic and scholarly works and SAE for return of submissions, Frankfurt/Main, Germany, T +49 69 Society, 1 Lane 3, Hsing Tang Road, work. Centre has little disability access. to Gary McLeod, #502, Syato Dai 2, Shoji, 40589520, F +49 69 405 89540, Ciaotou Township, 825, Kaohsiung, WHERE: Genoa, Italy. Ikuno-Ku, Osaka-shi, Osaka-fu, 544-0002, [email protected] Taiwan, [email protected] www.kat.org.tw WHEN: During 2005-2006 dates are: 7 Japan. [email protected] www.mousonturm.de DEADLINE: 22 February Sept – 12 Dec (autumn-winter), and 8 Feb DEADLINE: 1 March DEADLINE: 13th February – 15 May (winter-spring). Fellowships Short Film and Video Festival usually have a duration of one month or a plateaux Künstlerhaus Lauenburg-am-Elbe WHAT: 9th Annual Arizona State half semester (48 days). In special WHO: international artists, performers and WHO: artists working with drawing, University Art Museum Short Film and circumstances residencies of other lengths companies in the field of experimental fiction, graphics, installation, multi media, Video Festival. may be approved. theatre, performance art and live art. non-fiction, painting, photography, stone WHERE: Arizona State University Art Transport to and from Genoa is WHAT: plateaux is a supportive model for carving and woodcraft. Museum, Tempe, Arizona. responsibility of Fellows as well as young performing artists. Send in WHAT: residency providing work and WHEN: Sat 23 Apr, 8pm. personal expenses incurred during conceptual proposals displaying a discrete living accommodation including furnished COST: free. fellowship period, including purchase of and textually well-founded aesthetic and fully equipped individual apartments DETAILS: complete history of the festival, materials and equipment. position. with a 20-40sq.m studio. Technical guidelines for entry and a complete list of Children and pets are not permitted at the WHERE: Germany. facilities include a dark room and the works that have been screened at past Centre. Visits by friends, colleagues, or WHEN: plateaux commissions a limited printmaking studio. Several exhibitions are festivals can be found online at family members are not allowed, except number of productions and invites the organised during the artist’s residence. www.asuartmuseum.asu.edu/filmfest by special, prior arrangement. artists for production residencies of up to Municipality pays studio, travel expenses DEADLINE: 14 February TO APPLY: applications reviewed twice a six weeks. Starting in September, the and accommodation. artists can carry out their respective year by The Bogliasco Foundation WHERE: Germany. CCA Kitakyushu Selection Committees. The following projects at Künstlerhaus Mousonturm in WHEN: 6 months. WHAT: the Centre for Contemporary Art documents, which may be presented in Frankfurt/Main. The productions will then TO APPLY: send description of project, CV provides young artists and others English, French, German, Italian, or be presented during the plateaux festival and samples of work to Künstlerhaus engaging in curatorial work with a period Spanish, are required of all applicants: from 3-13 November. Lauenburg-am-Elbe, Elbestraße 54, 21481 for reflection. Participants can interact TO APPLY: applications should include: (1) completed application form (with Lauenburg Am Elbe, Germany, T +49 4 and exchange ideas with the artists of the precise conceptual description; substantial personal data, project abstract, 153 5909 220, professorship and with specialists from documentation of previous projects preferences for residency dates, and other [email protected] various fields during the seminar terms. including video material (maximum one information). DEADLINE: 15 February Each year, six to ten internationally VHS or DVD of one hour duration); CVs of (2) CV, no more than three pages in recognised artists are resident in the the participants; budget calculation. The length. centre. It supports computer art, budget calculation should offer an Artists in Labs Projects (3) project description, no more than one WHAT: the aim of the Artists in Labs electronic/digital, film/video, graphics, overview of all production costs including page in length that applicant would Project is to encourage education, installation, painting, performance, salaries, materials, travel expenses, pursue during fellowship. research and innovative processes and photography and sculpture. royalties, etc. (accommodation during the (4) three reference letters that provide an methods of production, which blend the WHERE: Japan. residencies, technical staff and press assessment of applicant’s professional disciplines of art and science. Relevant WHEN: one-year research programme. material will be supplied by Künstlerhaus achievements and evaluation of proposed disciplines are contemporary music, There are places for 15-20 artists, and a Mousonturm). project. design, media, multi-media, performing few in curatorial studies. CONTACT: plateaux, Künstlerhaus (5) a sample of applicant’s work, which arts and urban design. FEE: artists can apply for CCA’s Mousonturm, Waldschmidtstraße 4, D- must be submitted in triplicate. WHERE: Switzerland. scholarship, which will be confirmed at 60316 Frankfurt/Main, Germany, T 0049- CONTACT: The Bogliasco Foundation, 10 WHEN: 3-6 months. interview. It may be possible to provide (0)69-405895-15, F FEE: monthly stipend of 1880 euros plus low-priced apartments. Foreign Rockefeller Plaza, 16th Floor, New York, 0049-(0)69-405895-40, assistants, daily access to a laboratory participants are advised to get a grant NY 10020-1903, USA. [email protected] [email protected] facility and collaboration with scientific www.liguriastudycenter.org www.plateaux.info from their own country as well. The cost of researchers, computers, digital video DEADLINE: ongoing DEADLINE: 1 March living in Kitakyushu is about 60,000 - editing, two free copies of the final 80,000 yen per month. research results, a full-colour catalogue TO APPLY: request application form. Object Künstlerhaus Mousonturm WHO: artists that employ interactivity in WHO: art school graduates or artists with with accompanying CD. CONTACT: Contemporary Art Center, CCA their works. Artists will be chosen via open practical experience and the commitment DETAILS: project proposals from artists Kitakyushu, 2-6 3F Ogura Yahata-Higashi- submission and invitation. Final selection to work and live as an artist full-time. who wish to work with the following ku, Kitakyushu 805-0059, Japan, +81 93 will rest upon suitability to the aim of WHAT: the concept of Künstlerhaus scientific disciplines are encouraged: bio- 6631615, F +81 93 6631610, exhibition and quality of work. Mousonturm in Frankfurt includes chemistry, bio-technology, solar energy, [email protected] WHAT: call for entries for artist-led group experiments, productions and shows of computational and information science, www.cca-kitakyushu.org international exhibition that highlights or international artists working with theatre, electron microscopy, micro-electronics, DEADLINE: ongoing raises questions of the character that dance, performance, visual arts, literature, artificial intelligence research, ecological people may project upon the ‘art object’. music, video/film and new media. To risk research, medicine, micro-robotics, Kamiyama Art Centre Work is sought that explores ideas of cross over the borders between different nano-technology, physics and WHAT: artist-in-residence scheme with anthropomorphism and uses elements of art forms is part of the concept of the environmental science research. emphasis on new discoveries, value interaction. Künstlerhaus, the exchange between fine TO APPLY: send application form, systems and exchanges among local WHERE: large, multimedia exhibition artists and actors, dancers and description of project, CV and samples of residents. Artists must be active in the space with a high profile street location in performance artists who appear in the work to Artists in Labs Projects, School of field of contemporary art and create at central Osaka, Japan. Plans for the house adds another aspect to the concept Art and Design Zurich, Hafnerstrasse 31, least one artwork during the residency exhibition to take place in a similar of studio use. At the end of a scholarship CH 8031 Switzerland, T +41 1 446 26 55, period. Invited artists must be able to gallery space in the UK will be considered. the works produced are shown in an F +41 1 446 26 53, [email protected] engage and interact with the other artists WHEN: autumn 2005. exhibition. 8-10 exhibitions are shown www.artistsinlabs.ch and local residents. COST: selected artists will be expected to featuring the work of young artists. DEADLINE: ongoing WHERE: Japan.

40 Opportunities a-n Magazine February 2005 More than 12 The Art House: artists’ bursary scheme ,"- www.morethan12.net 6ˆÃÕ> The Art House works to ensure that all artists, with and without disabilities, have access to work, training and exhibiting opportunities. Working in partnership, The Art House is
ÀÌà offering a residency for an emerging visual artist to develop their artistic practice, with professional development support. /À>Ûi Access support is provided where needed -V œ>Àà ˆ«Ã Humberhead Peatlands National Nature Reserve (Thorne and Hatfield Moors) ÚÓääx­1® English Nature, the government agency that champions the conservation of wildlife and geology, is seeking an artist to ,"-
,/- œvviÀà > ÃV œ>Àà ˆ« œv ËÎ]äää vœÀ > 1 >À̈ÃÌ Ìœ raise the profile of this extensive area of lowland peat bog near ëi˜` Õ« ̜ vœÕÀ ÜiiŽÃ ˆ˜ > œ““œ˜Üi>Ì VœÕ˜ÌÀÞ œv Ì iˆÀ Doncaster – see www.english-nature.org.uk. V œˆVi LiÌÜii˜ ÕÞ Óääx q >ÀV ÓääÈ° / i ÃV œ>Àà ˆ« Opportunities to run workshops. à œÕ` VœÛiÀ ÀiÌÕÀ˜ >ˆÀv>Àià vÀœ“ 1] >VVœ““œ`>̈œ˜ >˜` May – June 2005 ˆÛˆ˜} iÝ«i˜Ãið Fee £4000 inc. materials ˆ}ˆLˆˆÌÞ For application details please contact: ˆÌˆâi˜Ã œv Ì i 1 Õ« ̜ >˜` ˆ˜VÕ`ˆ˜} Ì i >}i œv Îx >à >Ì Î£ The Art House iVi“LiÀ Óääx] VÕÀÀi˜ÌÞ ˆÛˆ˜} ˆ˜ Ì i 1° Doncaster College Waterdale i`ˆ> Doncaster DN1 3EX ,"-
,/- ܈ Vœ˜Ãˆ`iÀ ܜÀŽ ˆ˜ >˜Þ “i`ˆÕ“° Tel: 01302 368555 Minicom: 01302 326187 -ˆ`i -ÕL“ˆÃȜ˜ [email protected] 1« ̜ ÃˆÝ ÜœÀŽÃ Vœ“«iÌi` ȘVi >˜Õ>ÀÞ Óää{ ÜˆÌ 6 >˜` ÃÌ>Ìi“i˜Ì° Deadline for applications: Monday 28 February 2005 -iiV̜Àà *ÀœviÃÜÀ À> >“ ÀœÜiÞ] i>` œv i«>À̓i˜Ì ­*>ˆ˜Ìˆ˜}®] ,œÞ> œi}i œv
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,/- >˜` œ˜ˆ˜i ­`iÌ>ˆÃ LiœÜ®° and include SAE for return of slides. i>`ˆ˜i For further information visit the Rebecca Hossack Σ >ÀV Óääx Gallery website: www.r-h-g.co.uk Ìi\ äÓä Ç{än äÓ£{ iÝÌ°ÎÓ{ ,"-
,/- v>Ý\ äÓä Ç{™™ ÈÇÎn Judged by: Stephen Chambers, artist; Flora McDonnell, "ÛiÀ‡-i>à œÕÃi i‡“>ˆ\ VՏÌÕÀiJÀœÃ°œÀ}°ÕŽ *>ÀŽ *>Vi ÜÜÜ°ÀœÃ>ÀÌðVœ°ÕŽ artist and trustee of The Gilchrist Fisher Award; William -Ì >“iýà -ÌÀiiÌ] Packer, Financial Times Art Critic, Nicholas Usherwood, œ˜`œ˜ -7£
£, Editor of Galleries Magazine. www.a-n.co.uk WHEN: 10 Sept - 14 Nov. as email attachments or hard copies. form, project proposal, CV and sample of procedure. Send completed submission FEE: accommodation facilities. Individual Supporting visual material such as DVD, work to ACC Galerie Weimar, European form which can be downloaded from the apartments or individual rooms in a Mpeg, video (NTSC), in the case of time Atelier Programme, Burgplatz 1+2, 99423 website, 10-20 images of your work shared house paid by host. Board, food, based work; CD, vinyl or audio tape for Weimar, Germany, +49 3643 851261, F (slides, photographs, jpegs, etc.), clearly etc. 150,000 yen, including expenses for sound works; colour digital prints, digital +49 3643 851263, [email protected] labelled with name, title of work, medium, meals, daily necessities. Individual travel files or slides of 2D work and www.acc-weimar.de dimensions, and date, video or expenses, round-trip airfare. sculptural/installation projects. Materials DEADLINE: 24 February audiotapes, CD ROMs, or DVDs. If Up to 300,000 yen per artist, including will only be returned if SAE is included submitting video or audio, you must expenses for art materials. Computers with your proposal. Stanica Railway consolidate to a single tape. Only one with Internet access. Car/bike/scooter for CONTACT: Tom & Holly Burtonwood, WHAT: residency in Zilina-Zariecie railway tape will be played during the review travel within Kamiyama City only 1900 North Milwaukee #2R, Chicago, IL. station, a converted space for art and process. Include image list/slide key, CV (includes petrol). 60647-4321, 773-235-4634, culture, located on the railway line with name and contact information, SAE. TO APPLY: $40 (US) in travellers cheques. [email protected] leading from Zilina to Rajec. General slide reviews are held every 8-10 The selection committee of KAIR will www.gardenfresh.org WHERE: Slovakia. weeks, and artists may expect a response strictly screen all applicants and notify DEADLINE: ongoing FEE: none. by mail within twelve weeks of applicants of results by the end of April TO APPLY: flexible residency programme. submission. 2005 by email. Artist’s Television Access Contact with interesting project proposal, CONTACT: SculptureCenter, Artist CONTACT: Kamiyama Artist in Residence, WHAT: ATA regularly screens independent living and working accommodation Submission, 44-19 Purves Street, Long KAIR, 100 Honnoma, Jinryo, Kamiyama- film, video and hosts other performances negotiable. Island City, NY 11101, USA. cho, Myozai-gun, Tokushima 771-3395, in its screening room. The projection CONTACT: Stanica, Truc, Nesporova 19, [email protected] www.sculpture- Japan, +81 88 676 1522, F +81 88 676 booth is equipped with a LCD superbright 010 01 Zilina, Slovakia. [email protected] center.org 1100 [email protected] video projector, 16mm and www.stanica.sk DEADLINE: ongoing www.town.kamiyama.tokushima.jp/kair_f Super8/standard 8mm projectors, sound DEADLINE: ongoing s.html system, 10 channel mixer, one Commissions DEADLINE: 28 February microphone. It accommodates DVD, Mini- Daniel Langlois Foundation DV, DV-Cam, s-video, VHS, Betacam SP, WHAT: the foundation’s mission is: to Site Gallery Edith Ruß Hauß for Media Art and any cameras or decks that can be promote contemporary artistic practices WHO: recently-established artists and WHAT: one six-month work stipend from plugged into S-Video patch bay. All non- that use digital technologies to express those engaged in post-graduate Jul-Dec 2005 for artists working in new commercial work is considered. A aesthetic and critical forms of discourse; study/research, based in the North of media. There are no residency storefront window is available to display to encourage interdisciplinary research England and working in lens-based and requirements and no age limits. video or sculptural installations and the and make public the results of research digital media. WHERE: Germany. main gallery shares space with the supported by its programmes. WHAT: commission of work to be included WHEN: ongoing. video/film screening area. They are WHERE: Canada. in the Immediate 3 exhibition. Supported FEE: stipend is around 10,000 Euros. looking for large format work (photos, WHEN: ongoing. by the Esme Fairbairn Foundation. Accommodation, honorarium, public prints, drawings, collages) that can be FEE: grants for researchers, open to FEE: a commissioning fee plus production presentation expenses are also included. seen from a short distance, as it will be historians, curators, critics, independent costs will be offered. Technical support TO APPLY: send application form and displayed above seating in the screening researchers, artists and scientists in and access to i-lab at Site Gallery. project description. area. various fields, including computer science CONTACT: Site Gallery, 1 Brown Street, CONTACT: Edith Ruß Hauß for Media Art, All exhibits run for one month and include and related areas of social science. Sheffield S1 2BS, 0114 281 2007, Peterstraße 23, 26121 Oldenburg, an opening reception for the artist and Applicants must be at doctoral or post- [email protected] www.sitegallery.org Germany, +49 441 2353208, F +49 441 promotion on the ATA website and doctoral level, or demonstrate equivalent DEADLINE: 28 February 2352161, [email protected] calendar. experience or an international reputation www.oldenburg.de/ol/edith-russ-haus WHERE: San Francisco. for research in art, science and Art & The Travelling Landscape DEADLINE: 15 March (post date) WHEN: ongoing. technology. WHO: one lead artist and four additional FEE: none. TO APPLY: send application form, artists. The Drake Hotel TO APPLY: for screenings email proposals description of project and sample of work WHAT: Phase 2 of The Loughshore Trail WHAT: artist in residency programme for or inquiries to: “attn: Programming” to Daniel Langlois Foundation, 3530 calls for artists to liaise with local professional artists over nineteen years of [email protected] For other opportunities Saint-Laurent Boulevard, suite 402, communities and Craigavon Borough age and working in any discipline. please send a short description of your Montreal (Quebec), H2X 2V1, Canada, Council in the creation of a series of WHERE: Canada. work, 3-5 examples (slides, photos, VHS, +33 514 987 7177, F +33 514 987 7492, environmentally linked artworks based on WHEN: residency lasts for four weeks. mini-DV, digital files), a proposal for how [email protected] the cultural traditions particular to the FEE: own room, discounted food and free you would use the space and a self- www.fondation-langlois.org South Lough Neagh Wetlands. coffee, access to facilities and equipment. addressed stamped envelope (for the DEADLINE: 31 August FEES: Lead artist: £9,000 + materials for TO APPLY: submit a completed application return of your materials) to: Artists’ ten days per month over a six-month form, a one page project proposal Television Access, Attention: gallery, 992 The Nelimarkka Residency period. Additional artists: £1,000 each to addressing your intent and expectations Valencia Street, San Francisco, CA 94110. WHAT: residence and museum complex submit preliminary artwork proposals to for your residency, a CV highlighting For questions, contact the Exhibitions for artists to work in a quiet environment. be presented to the partners as drawings artistic accomplishments and awards, Coordinator: [email protected] The residency is tailored towards drawing and/or macquettes with an estimated three samples of recent work, two letters CONTACT: Artists’ Television Access, 992 and graphics, facilities include production budget. of referral from individuals in your field Valencia Street, San Francisco, CA 94110, printmaking, etching press and INFORMATION AND APPLICATION and a list of equipment and facilities you +1 415 824 3890, [email protected] lithographic press. PACKS: send SAE to Sustrans, Marquis will provide and need. www.atasite.org WHERE: Finland. House, 89-91 Adelaide Street, Belfast BT2 CONTACT: The Drake Hotel, Daniel Borins, DEADLINE: ongoing WHEN: ongoing. 8FE, 028 3834 1618, 1150 Queen St W, Toronto, ON M6J 1J3 FEE: accommodation. [email protected] Canada, [email protected] ACC Galerie Residency Programme TO APPLY: send application form, sample DEADLINES: 28 February for lead artist; www.thedrakehotel.ca/art.asp WHAT: 2D, 3D and media artists who are of work and statement of intent to 28 March for additional artists DEADLINE: ongoing prepared to relinquish their nomad’s Nelimarkka Residence/ Nelimarkka See display ad existence for three months and subject Museum, Pekkolantie 123, FIN 62900 GARDENfresh themselves to the good old customs of Alajàrvi, Finland. [email protected] An Lanntair WHO: curators and artists in all media. Spartanly, hard-working life in a small www.alajarvi.fi/museo WHO: artists to help develop external WHAT: GARDENfresh operates an German town are invited to apply to the DEADLINE: 15 February, 15 September space at new arts centre in Stornoway. exhibition space on the north side of 9th European Atelier Programme of the WHAT: a new public square will be Chicago; sponsors public art projects and ACC Galerie and the City of Weimar. They SculptureCenter created as a visual and performing arts has an internet presence. As such we are looking for artists who want to make WHAT: a not-for-profit organisation that space. It is the role of the artist to frame welcome proposals that will engage with art in alternative spaces in town. provides opportunities for artists at all the concept and coordinate this aspect of these aspects of our practice. WHERE: Germany. stages of their career to produce and the project. WHERE: Chicago. WHEN: ongoing for three-month periods. exhibit work in multiple dimensions. WHEN: the square will be among the last WHEN: ongoing. FEE: accommodation combined with WHERE: New York. elements of the development to be FEE: none. studio. Catalogue and exhibition. Stipend WHEN: ongoing. completed and it is envisaged that work TO APPLY: proposals should include a of 750 Euros per month. All other FEE: none. will occur over a two-three month period project brief, supporting statements and expenses are borne by the artist. TO APPLY: due to a high volume of during 2005. biographies for all participants, to be sent TO APPLY: max age 35. Send application submissions, they urge artists to follow the FEE: £5,000.

42 Opportunities a-n Magazine February 2005 www.a-n.co.uk THE WAY I SEE IT Are you beginning your career as a visual artist? Art Studios Do you lack experience, but have the vision, enthusiasm and commitment to benefit from a unique training opportunity? Do you live and work in Suffolk? in Cyprus If your answer to these questions is yes, then you will want to know more about The Way I See It. The artists of the Limassol Studios Developed as part of the making art work scheme, The Way I See It offers 5 residencies, invite you to join them at their designed to provide fast track work experience for new artists. studios in Limassol on the south £91 Selected artists will receive a training bursary of £2,000, a materials budget of £1,000 and the support of a professional mentor for the duration of the project. coast of Cyprus. Hosts for these residencies include a school, arts organisations, museums and a library. Studio space is available for as little For more information and an application form, please email as one month, and rent starts at to reach over half of the [email protected] - quoting The Way I See It in the £200 a month. This pays for studio subject bar, or contact the making art work administrator on 01986 798220. UK’s professional artists Deadline for completed applications: 7 March 2005. space, living accommodation To advertise contact making art work is a professional development scheme for visual artists in Suffolk, devised and and utility bills. managed by Suffolk County Council and part-financed 0191 241 8000 or through the European Union European Social Fund and www.limassolstudios.org [email protected] the Arts Council England Grants for the Arts. or call 0113 274 3287

Cotswold Leisure Centre, Cirencester requires a Lead Artist

An Lanntair The Lead Artist will be required to Are looking for an artist to help develop the external space at the New Arts Centre, explore ways to create the feeling of a Stornoway, which opens in late 2005. quality environment through finishes and As part of the wider town regeneration, led by the Stornoway Amenity Trust, a new public enhancements. You will be working with square will be created as a visual and performing the project team to develop proposals for arts space. It is the role of the artist to frame the concept and co-ordinate this aspect of the the fitness suite and the reception area of project. The landscaped square will be among the last elements of the development to be the new Leisure Centre. completed and it is envisaged that work will occur over a 2-3 month period during 2005. Fee is £5,000. For a full brief please visit Applicants should include CV and images of previous work submitted by the 4th February www.cotswold.gov.uk 2005. Selection will be by competitive interview and follow the links to arts or contact Claire in March. For further information and brief, contact: [email protected] Roddy Murray, Director, 01285 623451 An Lanntair, Town Hall, South Beach, Stornoway, ISLE OF LEWIS HS1 2BE Lead Artist fee £3,000 Tel (01851) 703307 Closing date 21st February [email protected]

20-21 Visual Arts Centre, Scunthorpe Brighton & Hove Museums Craft Collection Annual Purchase 2004/2005 St Hugh’s Foundation (Formerly The South East Arts Craft Collection) All craftspeople currently working in the Arts Council England South East region are Commissioning Awards eligible for consideration. Purchases for the collection are made from completed work or by commission up to the value of £2000. Work in any media will be 20-21 is a contemporary visual arts centre in North Lincolnshire. considered. The purchase does not include works of Fine Art, Printmaking or Its programme of temporary exhibitions, educational events and Photography. facilities attract many local young people and the centre employs an Please submit: • Up to 10 good quality slides showing recent work, but not necessarily pieces Arts Youth Worker to work with them. available • A separate list of slides detailing title, medium, size, date made, availability and Artist’s Commission price of work 20-21 seeks an artist to complete a piece of commissioned artwork, • A current CV inspired by local young people. Visual artists working in any medium • A suitably strong stamped addressed envelope for the return of the slides may apply. To: Polly Harknett, Craft Officer, Hove Museum & Art Gallery, 19 New Church Road, Hove, East Sussex. BN3 4AB • Commission to be inspired by young people aged 13-19, through Closing date: Friday 4 March 2005. (All submissions will be returned by Friday 8 April) contact and consultation. Young people should be involved in the The Arts Council England South East area covers the following counties: Buckinghamshire, East & West Sussex, Hampshire, Isle of Wight, Kent, Oxfordshire, decision making process for the commission. Surrey, West Berkshire. • The artist will be required to encourage young people’s understanding of an area of the visual arts, through workshops or other activities. • Consultation to begin with the young people on week beginning 21 March. The completed piece of work should be installed by 30 April. • Fee of £5000 inc. materials, travel and accommodation costs. Further funding may be available to cover specific installation requirements. Deadline for applications: Wed 2 March Selection interviews: Between 9 & 11 March For application details contact: Karl Barnard, 20-21 Visual Arts Centre, Church Square, Scunthorpe North Lincolnshire DN15 6TB. 01724 297070 [email protected]

The St Hughes Foundation

Holder of the St Hugh’s Foundation Commissioning Award 2002

44 Opportunities Online listings and display adverts are updated every Thursday by 5pm a-n Magazine February 2005 RBSA Gallery Call for Entries RBSA OPEN ALL MEDIA Exhibition March 2005

Entry forms available from Friday 4 February 2005

Schedules to be returned by Wednesday 9 March 2005

Handing in date Sunday 13 March

Exhibition open from Wednesday 16 March – Saturday 9 April 2005

For further information and entry forms, please send a stamped self addressed envelope to The Honorary Secretary, Royal Birmingham Society of Artists, 4 Brook Street, Birmingham B3 1SA Tel 0121 236 4353 Fax 0121 236 4555 www.rbsa.org.uk

FOUNDER PATRONS SAMUEL BATH AND ASSOCIATES WELCONSTRUCT COMMUNITY FUND THE GRIMMITT TRUST ESMEE FAIRBAIRN CHARITABLE TRUST

Registered Charity No 528894

ART & THE TRAVELLING LANDSCAPE South Lough Neagh Wetlands Art Initiative

PHASE 2: CALL FOR ARTISTS

The Loughshore Trail is a 128-mile For Phase 2, one lead artist and cycle route around Lough Neagh four additional artists will be and Lough Beg of which 38 miles appointed to liase with local traverses the Lough Neagh communities and Craigavon Exceptional talent. Wetlands. This section of the Borough Council in the creation of route, between Maghery and a series of environmentally linked Do you know it when Aghagallon also forms part of the artworks based on the cultural National Cycle Network. Phase 1 traditions particular to the South of the project commissioned an Lough Neagh Wetlands. you see it? artist in residence to create artwork and an overall vision for the area and involve local NESTA, the National Endowment for Science, communities in the process. Technology and the Arts, is an independent organisation that invests in innovators and works LEAD ARTIST Fee: £9000 + materials to improve the climate for creativity in the UK. Duration: 10 days per month over a six-month period Deadline: 28th February 2005 We’re looking for people who can help us to

ADDITIONAL ARTISTS identify potential awardees for our Fellowship Four additional artists will be paid a fee of £1,000 each to submit programme. People who are in touch with the preliminary artwork proposals to be presented to the partners as drawings and / or macquettes, with an estimated production budget. sort of talent that pushes the boundaries of Deadline: 28th March 2005 existing thinking and practice across science,

For more details and an application pack: technology and the arts. email : [email protected] - Tel: 02838341618 or send S.A.E. to: Sustrans, Marquis House, 89-91 Adelaide Street, Belfast, BT2 8FE Is that you?

To download an application form visit www.nesta.org.uk/nominator

Closing date for applications 14 February. www.a-n.co.uk The New Art Gallery contemporaryIslington Call for Submissions ART Painters, Printmakers, CALL FOR ENTRIES & Ceramicists, Jewellers. Artists are invited to submit work to the following DESIGN Send 6 jpegs/slides or prints with 2005 FAIR Biography & Artist’s Statement to: exhibitions to be held at the MALL GALLERIES: Purple Gallery, 229 Mary Vale Rd Call for entries Bournville, B’ham B30 2DL or 1-24 April 2005 email [email protected] ROYAL INSTITUTE OF 1-3 Apr: Painting Sculpture Time Based Media PAINTERS IN WATERCOLOUR 8-10 Apr: Photography Illustration IS PRINTMAKING DEAD? Receiving days: 4 & 5 February 2005 (10-5) Printmaking Graphics Send a postcard with your 15-17 Apr: Fashion Jewellery comments / image and Textiles address. Final book sent to ROYAL SOCIETY OF 22-24 Apr: Furniture Ceramics Glass all participants Candid Galleries SEND TO: Libby Jones, PORTRAIT PAINTERS 3 Torrens St, London, EC1V 1NQ 33a Lauderdale Drive, Receiving days: 4 & 5 March 2005 (10-5) 020 7837 4237 candidarts.com Richmond TW10 7 BS ROYAL SOCIETY OF BRITISH ARTISTS Receiving days: 1 & 2 April 2005 (10-5)

Many artists’ awards and prizes are on offer

For details and entry forms, please send a large SAE (35p) to: Federation of British Artists, 17 Carlton House Terrace, LONDON SW1Y 5BD

Find us at: 020 7930 6844 www.mallgalleries.org.uk CALL FOR ENTRIES ART OF IMAGINATION OPEN EXHIBITION AS PART OF THE FESTIVAL OF

FANTASY & IMAGINATION at Lauderdale House k Highgate Hill Highgate London N6 5HG arc ASPEX ARTISTS’ RESOURCE CENTRE 16th May - 5th June 2005 PROVIDING INFORMATION, GUIDANCE AND SUPPORT FOR ARTISTS ARC offers an ongoing programme of one to one surgeries, seminars, and critique groups, alongside practical information and research facilities. Closing date for submissions: 2nd April 2005 February: one to ones with Cathy Lomax, director of Transition Gallery, London For details/entry forms send a stamped SAE to: March: AA2A - Artists Access to Art Colleges Seminar The Society for Art of Imagination For further information E: [email protected] T: 023 9281 2121 or see website P.O.Box 11911 London NW8 0WL ASPEX GALLERY 27 Brougham Road, e-mail: [email protected] Portsmouth, PO5 4PA www.artofimagination.org www.aspex.org.uk

46 Opportunities Online listings and display adverts are updated every Thursday by 5pm a-n Magazine February 2005 Are you looking for, or do you have, studio space in the Wigan New Studios area? Johnson’s Island, Brentford, West London OK Studios, a charitable organisation based in Standish, just north of Wigan, is Diesel House Studios have taken several new studio currently conducting a survey of spaces at a historic riverside location, which are close to studio requirements locally. bus and train routes. Immediately available, 24 hour Emerging and professional artists are invited to complete a short access, large summer and Xmas shows, free website, questionnaire. marketing and publicity support. Additional studios are For details please contact also available at Kew Bridge Steam Museum, Brentford. [email protected] or phone the studios on 01257 424804. If you leave For further details contact Elizabeth on contact details on the answer- 020 8569 8780 or [email protected] phone we’ll get back to you.

Postgraduate Diploma in Fine Art 2005-2006 Based on the Mediterranean island of Cyprus, the CyCA Postgraduate Diploma is an eight month programme for painters, sculptors and other art practitioners from around the world. As an artist or recent graduate it is an opportunity to develop or More Opportunities on www.a-n.co.uk redefine your practise in an ancient and fascinating location. All tuition is in English and some assistance with fees may be available. Free living accommodation may also be offered. For a Weekly updated job listings for prospectus visit our website at www.artcyprus.org, or call 0113 subscribers on www.a-n.co.uk 274 3287 in the UK, or 0044 113 274 3287 in Eire. Not subscribing yet? Save money and access more artists’ resources CYPRUS COLLEGE OF ART – call 0191 241 8000 or go to www.a-n.co.uk and click Join in an art college with a difference

The Fragmented Figure Arts Council England and Conference and Exhibition the Centre for Arts Research, Technology and Education Cardiff School of Art and CARTE present Design, UWIC 29 - 30 June 2005 CALL FOR PAPERS Ways of Working 2 Submissions are invited from artists and theorists engaging with the figure in ceramics or other media.

Email: [email protected] Appropriation and Collaboration Tel: +44 (0)29 2041 6636 Web site: www.fragmentedfigure.net in Contemporary Arts Practice Saturday 5 March 2005 A STUDY DAY TO EXAMINE PRESENTATIONS, ARTISTS’ ENGAGEMENTS DISCUSSIONS & FREE WITH COPYRIGHT, SURGERIES WITH LEGAL Metalwork Commission - Call for entries INTELLECTUAL PROPERTY SERVICE PROVIDERS AND NEW FORMS OF AND PEER-TO-PEER Aberdeen Art Gallery & Museums wishes to commission a substantial new piece of innovative metalwork for its collection with OWNERSHIP. ORGANISATIONS. Scottish Arts Council lottery funding through the National Collecting Scheme for Scotland. Applications are invited from craftspeople, designers and artists working in all areas of contemporary metalwork practice who TO BOOK PLEASE CONTACT VENUE must be trained or working in Scotland. The commission fee to design and Sue Barker University of Westminster make the new work will be £15,000. [email protected] 309 Regent Street or tel: 020 7911 5000 ex 2675 London W1B 2UW Further details from Christine Rew, Aberdeen Art Gallery, Schoolhill, www.carte.org.uk PRICE £20 Aberdeen, AB10 1FQ. SUBMIT YOUR © QUESTION [email protected] in advance to Closing date for applications is [email protected] 31 March 2005. www.a-n.co.uk TO APPLY: send CV and images of prize; £100 people’s choice. Designers. Needlework Apprenticeships previous work to Roddy Murray, Director, INFORMATION AND APPLICATION WHERE: School of Art and Design, WHAT: The Royal School of Needlework An Lanntair, Town Hall, South Beach, FORMS FROM: Faye Edwards, Qube, University of Hertfordshire. Apprenticeship is an intensive three-year Stornoway, Isle of Lewis HS1 2BE, 01851 Oswald Road, Oswestry SY11 1RB, 01691 WHEN: Feb - July. practical course covering all aspects of 703307, [email protected] 656882, [email protected] INFORMATION AND APPLICATION traditional hand embroidery and design. DEADLINE: 4 February DEADLINE: 5 June FORMS FROM: the School Office, 01707 This unique training combined with art See display ad See display ad 285300. and design studies teaches many of the See display ad skills required to become a professional Spinningfields Manchester Visions of Science embroiderer. Set in the beautiful WHO: artists in all media. WHO: visual artists whose work has been University of Hertfordshire surroundings of Hampton Court Palace, WHAT: call for expressions of interest for inspired by science. WHO: artists and designers. the standard of training is unequalled major new European city centre WHAT: invitation to enter special new WHAT: Large Format Digital Printing: anywhere in the world. The course leads development of over 375,000sq.m of award in the national Novartis and The Printing, Mounting and Presentation to an RSN diploma and many career offices, civic and educational buildings, Daily Telegraph Visions of Science Techniques. Three-day workshop gives a opportunities including fashion, education shops, entertainment, apartments and Photographic Award, supported by the practical introduction to imaginative and and conservation. hotels. Significant investment is being Science Photo Library. Entries should be innovative applications to digital printing, COST: the RSN undertakes the cost of made to integrate a visionary public art submitted as photographic images. including: image input; digital printing; training each apprentice. No fees are strategy within the public realm that will JUDGES: to include Professor Sir mounting; installation. required from UK-based students, who enhance the quality of public space and Christopher Frayling and Dr Mark Lythgoe. WHERE: School of Art and Design, receive a small monthly allowance. create a range of opportunities for artists, PRIZES: the winner will receive £500 in University of Hertfordshire. INFORMATION FROM: Owen Davies, including permanent commissions, prize money, significant publicity and their WHEN: 11-13 April and 11-13 July. Head of Education, Royal School of collaborative and temporary works, events image will join the national Visions of INFORMATION FROM: the Short Course Needlework, Apartment 12A, Hampton and performance. Science touring exhibition. Office, 01707 285300, ad- Court Palace, Surrey KT8 9AU, TO APPLY: to register interest and INFORMATION AND APPLICATION [email protected] 020 8943 1432, willingness to be considered for future FORMS: 020 7613 5577, See display ad [email protected] commissions as they are developed www.visions-of-science.co.uk www.royal-needlework.co.uk contact Jane Duncan, c/o Allied London See display ad Portfolio Days 2005 Properties Ltd, 40 Portman Square, WHAT: opportunities to show and discuss Copyright and Contracts London W1H 6LT, [email protected] Gilchrist-Fisher Award 2006 your work in a small group. Each day is WHAT: practical course will provide you www.allied-london-properties.com WHO: landscape painters under the age led by the artist who is exhibiting at the with knowledge of the current copyright www.spinningfields-manchester.com of 30 before Jan 06. venue and another professional from the legislation and the management of See display ad WHAT: 1st prize £3,000; runner-up field of contemporary photography wh publishing rights. £1,000. talk about their work then view WHEN: 18 Feb. Metalwork Commission JUDGES: Stephen Chambers, Flora everybody’s portfolios. CONTACT: Katherine Naish, 0131 228 WHO: craftspeople, designers and artists McDonnell, William Packer, Nicholas WHEN: 5 Mar: Anne Hardy at Artsway, 6866, [email protected] working in all areas of contemporary Usherwood. Sway, Hampshire; 16 Apr: Phil Collins at www.scottishbooks.org/training metalwork practice who must be trained TO APPLY: send 6-8 slides of recent work MKG, Milton Keynes; 21 May: Tomoko or working in Scotland. and SAE for return to Rebecca Hossack Yonedda at South Hill Park, Bracknell, Events WHAT: Aberdeen Art Gallery & Museum Gallery, 35 Windmill Street, London W1T Berks; 18 June: Andrew Carnie at wishes to commission a substantial new 2JS, www.r-h-g.co.uk Horsham Arts Centre, Sussex. Image Text Image piece of innovative metalwork for its DEADLINE: 10 June COST: £15; £5 unemployed. Lunch WHO: anyone interested in visual arts, collection. See display ad included. writing and performance. FEE: the fee to design and make the new INFORMATION AND BOOKINGS: 02380 WHAT: poetry event and accompanying work will be £15,000. Turbulence 597003, [email protected] exhibition. INFORMATION FROM: Christine Rew, WHAT: juried, international net art [email protected] WHERE: Harborne Gallery, 5 Vine Terrace, Aberdeen Art Gallery, Schoolhill, competition. www.fotonet-south.org.uk High Street, Harborne, Birmingham B17 Aberdeen AB10 1FQ, DETAILS: New Radio and Performing Arts See display ad 9PU, 0121 427 9695. [email protected] Inc announces five net art projects to be WHEN: poetry event Sat 5 Feb, 6-8pm; DEADLINE: 31 March commissioned for the Turbulence website Barnet College exhibition 4-11 Feb, Tues-Sat 12-5.30. See display ad in a juried international competition, with WHAT: HND/HNC Public Arts Project CONTACT: Rosalind Glover, 01384 the support of the Andy Warhol Management course that will help you 255267, 07767 338357, Competitions Foundation for the Visual Arts. Each develop a portfolio of public arts works [email protected] commission will be $5,000 (US). and learn how to make a proposal. Study Rural Suffolk Town and Country INFORMATION FROM: can be full-time or part-time. The Fragmented Figure WHO: artists over seventeen years living in www.turbulence.org/comp_05/guideline DETAILS: most of the learning is through WHO: submissions are invited from artists Suffolk and immediate borders, all s.htm participation in community and studio and theorists engaging with the figure in mediums and styles. DEADLINE: 31 March work and subjects include: fine art ceramics or other media. WHAT: competition to promote art and practice and theory; time-based and new WHAT: call for papers for conference and local artists, connecting them with the Courses media; traditional art, craft and design; exhibition. general public, generating interest and art and healthcare; live projects and WHERE: Cardiff School of Art and Design, participation. 2D or 3D, traditional, Cultural Policy CPD Training briefs; exhibition display and events UWIC. contemporary or ultra modern. One entry WHAT: two-day course as part of a promotions; team and individual work; WHEN: 29-30 June. per artist. continuing professional development presentations and proposals. CONTACT: 029 2041 6636, EXHIBITION: finalists work will be programme, exploring and assessing the INFORMATION FROM: 020 8266 4000, [email protected] exhibited at The Frame Workshop and nature, role and application of cultural textphone 020 8266 4137, www.fragmentedfigure.net Gallery, Ipswich from 1 April. policy within modern British and, in [email protected] www.barnet.ac.uk See display ad PRIZES: prizes for each category with 1st particular, modern Scottish society. See display ad prize including a solo exhibition at The WHERE: University of Glasgow, Ways of Working 2 Frame Workshop and Gallery. Department of Urban Studies. Aspex Artists’ Resource Centre WHAT: appropriation and collaboration in TO APPLY: send entry form, a photo of the WHEN: 16-17 Feb. WHAT: ARC offers ongoing programme of contemporary arts practice - a study day piece the artist would like to submit INFORMATION FROM: Julie Morgan, 0141 one-to-one surgeries, seminars and to examine artists’ engagements with together with a £1 coin entry fee, to Art 330 4190, [email protected] critique groups alongside practical copyright, intellectual property and new Competition, Chelmondiston Sub Post www.gla.ac.uk/departments/urbanstudie information and research facilities. forms of ownership. Presentations, Office, Bank House, Chelmondiston, s/courses/cpd/index WHEN: February: one-to-ones with Cathy discussions and free surgeries with legal Ipswich IP9 1DZ. Lomax, director of Transition Gallery, service providers and peer-to-peer DEADLINE: 14 March Postgraduate Certificate London. March: AA2A – Artists Access to organisations. WHO: artists and designers at an Art Colleges Seminar. WHERE: University of Westminster, 309 Qube emergent stage of their career who INFORMATION FROM: Aspex Gallery, 27 Regent Street, London W1B 2UW. WHO: artists based in the West Midlands. require further professional development Brougham Road, Portsmouth PO5 4PA, WHEN: Sat 5 Mar. WHAT open art exhibition on the theme taught by creative professionals. 023 9281 2121, [email protected] COST: £20. ‘Inclusion’. WHAT: Postgraduate Certificate Business www.aspex.org.uk CONTACT: Sue Barker, 020 7911 5000 ext PRIZES: 1st prize £1,000; £500 local artist and Digital Skills for Artists and See display ad 2675, [email protected] www.carte.org.uk

48 Opportunities Online listings and display adverts are updated every Thursday by 5pm a-n Magazine February 2005 Resident Artists with Children’s Groups

in the communities across London The Alexandra Reinhardt Memorial Award Artist in Residence and Commission at Lyndons Arts Trust is the lead charity in the Consortium of Great Ormond Street Hospital, London four charities: Pro Art & Co, Robert Bowman Gallery Trust and £5,000, plus expenses and materials Rights and Humanity. This is an artist-led sculpture project running from April until July 2005 with a large exhibition at the Paintings in Hospitals (PiH) is a registered charity dedicated to RCA at the end of July 2005. improving the healthcare environment experienced by patients, staff and visitors through the provision of original works of art for display in We are looking for artists working in media not usually NHS hospitals, hospices and other healthcare facilities across available to primary school children such as ceramics, glass, England, Wales and Ireland. wood, metal, mosaics, wire, textiles, etc. The project is to With the support of the Max Reinhardt Charitable Trust, PiH is pleased promote the ideals of Rights and Humanity and the chosen to announce the launch of an annual Artist in Residence Award to be subjects can cover environmental issues, animal welfare, based at a different NHS hospital each year for the next five years. conservation and protection and preservation of nature and The award will include the commission of a site specific work of art similar subjects thought out by the children. for the hospital plus a second piece for the charity’s own loan collection. In addition, the winning artist will be offered a 4 week solo The aim is to run the project for 5 full days or 10 half days over exhibition at PiH’s new gallery at the Menier Chocolate Factory, Easter holidays and Summer Half Term, or split into sections London SE1. after school to suit artist’s time table. There will be a materials The first residency will commence in June 2005 at Great Ormond budget for each group. As an artist-led project they would be Street Hospital for Children. The artist will be required to work on site credited at the exhibition when the sculptures will be for part of the residency involving a group of patients and staff in the auctioned at the private view and the proceeds divided equally development of a piece of work for permanent display in the daycare between all the groups taking part. centre where haematology patients have their transfusions. Open to visual artists working in any media. For further details please To apply please send CV, visuals and outline of chosen subject send an A4 SAE (42p) to Paintings in Hospitals, The Menier Chocolate to Mary McGowan at Lyndons Arts Trust, 7 McGregor Road, Factory, 51a Southwark Street, London SE1 1RU or download from www.paintingsinhospitals.org.uk London W11 1DE, tel: 020 7792 3265 ( 8am – 6 pm) No E-mails Please! Deadline for submissions: 15 March 2005

"35  ."  Bridge Street/Town Hill Schools Residency 2005 With Wrexham Arts Centre %&4*(/ 1PTUHSBEVBUF

The Economic Development Department of Wrexham County .$3 4UVEZ Borough Council has played a leading role in developing '*/& "35 infrastructure and investment in Wrexham. "35 "4 &/7*30/.&/5 #*0$-*."$5*$ %&4*(/ A development project is currently modernising the Bridge %&4*(/  "35 %*3&$5*0/ Street/Town Hill area, close to the town centre. The initial */%6453*"- %&4*(/ stage of the project is to employ an artist-in-residence to work -"/%4$"1& "3$)*5&$563& with three schools to engage the local community in research .&%*" "354 and to promote a sense of inclusion and involvement for the local children. 3&13&4&/5"5*0/ $*/&."  .&%*" 41"5*"- %&4*(/ The artist must have previous experience of working with % %&4*(/ community groups, and in particular children, on arts projects. 5&95*-&4  '"4)*0/ 63#"/ %&4*(/ Artists fees of £5,250, materials budget of £1,500, 7*46"- $6-563& accommodation and travel budgets are offered for the 6 week &/5&313*4& */ "35  %&4*(/ project, programmed to start during spring 2005. "$5*/( Deadline for applications will be 10 February 2005. 3FTFBSDI %FHSFFT .1IJM BOE 1I% To apply, please contact: 'VMM 5JNF BOE 1BSU 5JNF 'MFYJCMF 3PVUFT Cywaith Cymru . Artworks Wales, Crichton House, 11-12 Mount Stuart Square, Cardiff CF10 5EE. NJSJBEBENJTTJPOT!NNVBDVL t    tel: 029 20 489543 XXXNJSJBENNVBDVL email: [email protected] %FBEMJOF GPS BQQMJDBOUT TFFLJOH ..6 TVQQPSU GPS ")3# Artist brief and guideline also available at: CVSTBSZ TU +BOVBSZ  www.cywaithcymru.org "MM PUIFS BQQMJDBUJPOT EFBEMJOF OE .BZ  www.a-n.co.uk or submit your copyright question in Art of Imagination Officer, Turnpike Gallery, Civic Square, artist-led exhibition in the Royal College advance to [email protected] WHAT: call for entries for open exhibition, Leigh WN7 1EB, 01942 404469, of Art in July. See display ad part of The Festival of Fantasy & [email protected] www.wlct.org CONTACT: Mary McGowan, 7 McGregor Imagination. DEADLINE: 4 March Road, London W11 1DE, 020 7792 3265 Max5 Video Festival WHERE: Lauderdale House, Highgate Hill, (between 8am-6pm). WHAT: submissions sought for 2005 Highgate, London N6 5HG. Open Desk After School DEADLINE: involvement starts now and is festival. Entries should be no longer than WHEN: 16 May - 5 June. WHO: installation artists, 3D artists, ongoing 5 minutes. INFORMATION AND ENTRY FORMS: send mixed-media artists. WHERE: Cafe Gallery Projects, Southwark. SAE to The Society for Art of Imagination, WHAT: group exhibition of contemporary Flag Metamorphoses TO APPLY: send tapes either in mini DV or PO Box 11911, London NW8 0WL, responses to the history of Ragged WHO: anyone interested in participatory art. DVD format (no VHS) and SAE to Jon [email protected] schoolchildren exhibited inside the desks WHAT: to participate in flash animation, Purnell, 13 Dunmow Road, Stratford, www.artofimagination.org in the reconstructed 19th century an internet art project. London E15 1TZ, 07905 727037, DEADLINE: 2 April Victorian classroom in Mile End, London. CONTACT: Myriam Thyes, Düsseldorf, +49 WHEN: on-site visits 23 Feb and 2 March. 211 905 3500, [email protected] [email protected] See display ad Installation 22-24 July. Exhibition: 25 July www.thyes.com/flag-metamorphoses DEADLINE: 30 April Hengrove Art Space – 4 September. DEADLINE: ongoing WHO: artists based in the Bristol area. CONTACT: Jolanta Jagiello, 15 Eynsford The Misaligned Pocket Watch WHAT: submissions sought for 05/06 Rd, Seven Kings, Ilford, IG3 8BA, 0795 WHO: artists of all disciplines. Erewash Art exhibition programme consisting of group 7774791, 02085970322, WHO: local contemporary artists, WHAT: regular audio and visual nights. and individual exhibitions. [email protected] sculptors, designers, makers, craftspeople, Work with themes of time as experienced TO APPLY: send slides (video for moving www.raggedschoolmuseum.org.uk 2D or 3D, any media. and as beings out of time. Must be image work), artists statement and CV to DEADLINE: 21 March WHAT: open entry exhibition – 6th annual prepared to communicate via sound, Rebecca Fitzgerald, Hengrove Art Space, showcase for local creative talent. video, slide projection, spoken word or Petherton Road, Bristol BS14 9BU. Exhibiting in North Cornwall WHERE: The Beetroot Tree, Draycott. performance. DEADLINE: 1 March WHO: contemporary artists in all media. WHEN: 31 Jan - 15 Feb. TO APPLY: send a proposal/short WHAT: exhibit artworks in group TO APPLY: send CV, artists statement, statement and an example of your work The Neighbourhood Gallery exhibitions in 2005. visuals and artist prices with SAE to Sue to [email protected] or WHO: artists and creative individuals in or INFORMATION FROM: Blue Wing Gallery, Harrold, Gallery Administrator, The Annabelle from Gloucestershire. 2 Hornabrook Place, Padstow PL28 8DY, Beetroot Tree, South Street, Draycott DE72 Balch, 9 Buckingham Place, Bath Street, WHAT: opportunity to exhibit artwork and [email protected] www.blue- 3PP, 01332 873929, Brighton BN1 3TW. get involved with local gallery space. wing.co.uk [email protected] DEADLINE: 1 March WHERE: The Neighbourhood Gallery, DEADLINE: ongoing www.thebeetroottree.com Cheltenham. DEADLINE: asap Spectator T - Art Sheffield 05 INFORMATION FROM: The Exhibition Healthy Air WHAT: city-wide event held by Sheffield Group, Hesters Way Community Resource WHO: contemporary artists in the East Sugar Wall Contemporary Art Forum. Centre, Cassin Dive, Hester’s Way, Anglia region working in 2D medium. WHO: photographers, illustrators, graphic INFORMATION: visit www.artsheffield.org Cheltenham GL51 7SU, 01242 521319. WHAT: work loosely connected to medical artists. for artist Gavin Wade’s text framing the DEADLINE: ongoing related issues concentrating on healthy air WHAT: exhibit at one-night-a-month proposition for the event and details for and the environment including the chest, exhibition with a 20s-60s theme. artists on how to register with AS05 and High Head Sculpture Valley lungs, nose and throat, breathing, CONTACT: Jessie Cape, 59 Grange Road, submit proposals. WHO: all artists. smoking and cystic fibrosis. Kings Heath, Birmingham B14 7RN, CONTACT: Sheffield Contemporary Art WHAT: open exhibition of 2D/3D work WHERE: Mid Suffolk, close to Ipswich. 07800 501209, [email protected] WHEN: work to be available from 1 March DEADLINE: ongoing Forum, PO Box 3754, Sheffield S1 9AH, including furniture, ceramics, glasswork, through April and May. [email protected] sculpture, textiles and paintings. DETAILS: the first of a series of four DEADLINE: 21 February WHERE: High Head Sculpture Valley, Outpost Gallery Cumbria. exhibitions planned for 2005. Stowhealth WHO: local, regional and national artists. WHEN: 23 Feb - 27 Apr. Clinic, Stowmarket, Mid Suffolk. Where the WHAT: become a member of Outpost Transborder Crafts DETAILS: three pieces may be submitted to NHS, private and alternative health care Gallery, an artist-led gallery in the centre WHO: anyone with an interest in their be judged by a panel of judges on 22 Feb. fuse with art. Where white spacious of Norwich. local area, traditional rural skills or Work must be labelled with title, medium, corridors, conference rooms and gym are COST: £10, £5 concs. contemporary craft practice. artist’s name and price (including gallery set aside for artworks, to create a CONTACT: Outpost, 10b Wensum Street, WHAT: investigating crafts practice in commission of 30 per cent). dialogue and debate with visitors and Tombland, Norwich NR3 1HR, 01603 rural areas led by Craftspace Touring with ENTRY FORMS FROM: High Head patients. A private view will be hosted at 612428, [email protected] partners Oriel Davies Gallery, Newtown, Sculpture Valley, 01697 473552, the clinic with wine and canapes. 20 per www.norwichoutpost.org Shrewsbury Museum and Art Gallery and www.highheadsculpturevalley.co.uk cent commission of sales will go to the DEADLINE: ongoing Qube, Oswstry. DEADLINE: 15 February Patient Care programme. All artwork and WHERE: Old Market Hall, Shrewsbury. artist statement will be posted on the Remix Our Poster WHEN: 10 March, 9.45am to early/mid CRE8 website to maximise on advertising and WHAT: Ziggy Campbell, Kev Sim and afternoon. WHO: all artists. wales. www.stowhealth.com Tommy Perman invite you to remix the COST: free, but numbers are limited. WHAT: submissions for 05/06 exhibition TO APPLY: send up to ten images/slides, poster for Stop Look Listen, their evolving TO BOOK: contact Craftspace Touring, programme. Selected artists will also be CD-Rom or DVD with CV and SAE to J multimedia exhibition tour of Scotland. 0121 608 6668, info@craftspace- included in active portfolio promotions to Miller, ‘Healthy Air’, Stowhealth Clinic, The best entries will be included in their touring.co.uk growing database of architects, interior Violet Hill House, Violet Hill Road, exhibition. designers, corporate collections etc. Stowmarket IP14 1NL. www.jaymiller.co.uk WHERE: starting at Peacock Visual Arts, Exhibiting Workshop and demonstration DEADLINE: 14 February Aberdeen in Feb, the project will evolve as opportunities also provided. it travels to the Meffan, Forfar and the COST: £10 administration contribution. Sport Related Art Royal Scottish Academy, Edinburgh. Mall Galleries WHO: artists with sports related work. TO TAKE PART: go to WHO: all artists. TO APPLY: send images, statement, CV, WHAT: exhibition of 2D and 3D sport www.surfacepressure.co.uk/stoplooklisten WHAT: submit work for the following £10 (cheques payable to CRE8) and SAE to CRE8, 7 Hill Road, Newmillerdam, related art. /remix/ read the rules, download the exhibitions: Royal Institute of Painters in Wakefield WF2 6QD, 01924 250254, WHERE: Peterborough Art House. poster and get remixing. Watercolours, receiving days 4 & 5 Feb. [email protected] www.cre8.uk.com TO APPLY: send no more than three INFORMATION FROM: Royal Society of Portrait Painters, DEADLINE: ongoing visuals (not slides) and SAE to Helen www.surfacepressure.co.uk/stoplooklisten receiving days 4 & 5 March. Royal Society Mould, Peterborough Art House Ltd, 26 /remix/ www.peacockvisualarts.co of British Artists, receiving days 1 & 2 Wigan and Leigh Open Fitzwilliam Street, Peterborough PE1 2RX, DEADLINE: February April. WHO: artists living or working in the [email protected] WHERE: Mall Galleries. borough of Wigan. DEADLINE: 28 February Fresh Air 2005 INFORMATION AND ENTRY FORMS: send WHAT: submit work for selected exhibition WHO: sculptors in all media, particularly large SAE (35p) to Federation of British entitled ‘Objects of Desire’. Sculpture Programme glass, stone, metalwork and media Artists, 17 Carlton House Terrace, London WHERE: Turnpike Gallery, Leigh. WHO: artists and children’s ‘out of school combined. SW1Y 5BD, 020 7930 6844, WHEN: 30 Apr – 11 June. hours’ groups. WHAT: seventh bi-annual outdoor www.mallgalleries.org.uk INFORMATION AND APPLICATION WHAT: take part in a London-wide sculpture show. Some site-specific work See display ad FORMS FROM: Martyn Lucas, Visual Arts programme creating sculpture for an welcomed particularly based around water

50 Opportunities Online listings and display adverts are updated every Thursday by 5pm and/or light and sound. INFORMATION FROM: OK Studios, 01257 now.co.uk to express interest. www.refocus- 20-21 Visual Arts Centre WHERE: The Old Rectory, Quennington, 424804, [email protected] now.com WHO: visual artists in any medium. Cirencester GL7 4BN See display ad DEADLINE: recruiting throughout Jan and WHAT: St Hugh’s Foundation TO APPLY: The Secretary, Fresh Air 2005, Feb for Commissioning Awards seeks The Old Rectory, Quennington, Cirencester Biotech Art Workshop publishing in April. commissioned artwork inspired by local GL7 4BN. WHO: artists from the UK and Europe. young people aged 13-19, through contact DEADLINE: 28 February WHAT: together with SymbioticA, The Arts Nomads & Residents and consultation. The artist will be Catalyst is organising an intensive 5 day WHAT: open call for magazines or required to encourage young people’s Jobs workshop for artists, to serve as a periodicals published by non-profit and understanding of an area of the visual theoretical and practical introduction to alternative spaces, independent groups, arts, through workshops or other activities. the creation of biotech art. Practical artists and artists’ collectives to be part of WHEN: consultation to begin with young Surface Gallery components of this hands-on exploration WHO: volunteers interested in becoming the Nomads & Residents Traveling people week beginning 21 March. will include DNA extraction and involved with various aspects of gallery Magazine Table. Completed piece of work should be fingerprinting, genetic engineering, management, organising and hanging WHERE: the collection of materials will be installed by 30 April. selective breeding, plant and animal tissue exhibitions, marketing and publicity. on view at the Center for Advanced Visual FEE: £5,000 inc materials, travel and culture and basic tissue engineering WHEN: any weekday between 11-5 Studies at MIT, Boston. accommodation costs. Further funding techniques. The workshop will present the and/or occasional evenings. WHEN: this winter and spring. may be available to cover specific work of contemporary artists dealing with TO APPLY: send CV and covering letter DETAILS: Nomads & Residents is a forum installation requirements. biotechnology, and scientists will discuss stating your availability to Surface Gallery, for visitors in the arts: making connections, INFORMATION FROM: Karl Barnard, 20-21 ethical issues raised by artists’ work in this NVAC, 7 Mansfield Road, Nottingham supporting networks, setting up meetings. Visual Arts Centre, Church Square, area. A provisional programme can be NG1 3FB, [email protected] TO APPLY: if you would like your magazine Scunthorpe DN15 6TB, 01724 297070, viewed on the website. www.surfacegallery.org or periodical to be included in the [email protected] WHERE: Old Operating Theatre, 9a St DEADLINE: ongoing collection, send two copies of the latest DEADLINE: 2 March Thomas Street, London SE1. issue(s) to The Center for Advanced Visual See display ad WHEN: Monday 28 March - Friday 1 April, Studies, attn Traveling Magazine Table, The Affordable Art Fair with a public discussion Saturday 2 April. WHO: applicants should be confident, Massachusetts Institute of Technology, 77 The Alexandra Reinhardt Memorial COST: there is no cost to selected friendly, reliable and have a knowledge of Award participants. Massachusetts Avenue N52-390, art. WHO: visual artists in any media. TO APPLY: attendance will be by selection, Cambridge MA 02139, USA. WHAT: temporary staff to assist at large, WHAT: annual artist-in-residence award to through open submission or invitation. If DEADLINE asap contemporary art fair. Responsibilities be based at a different NHS hospital each you would like to attend please email include helping set up the fair, manning year for the next five years. The award will [email protected] giving a short artistic information desk, keeping marquee clean Residencies include the commission of a site-specific statement and explaining why you want to and tidy, liaising with galleries, admin and work of art for the hospital plus a second join the workshop and how it will benefit handing out flyers. Community Participation piece for the charity’s own loan collection. your work. Please attach CV and images WHEN: 15-20 March. WHO: students, recent graduates and In addition, the winning artist will be (1MB maximum) and/or URL links to SALARY: £6 per hour. artists at an early stage in their career, any offered a four-week solo exhibition at examples of your work. Further information TO APPLY: send CV and handwritten art form. Painting in Hospital’s new gallery at the from: covering letter to Annie Petrie, Affordable WHAT: two-six week residencies to result in Menier Chocolate Factory, London SE1. www.artscatalyst.org/projects/biotech/bi Art Fair, Unit 3, Heathmans Road, London the performance, presentation or WHERE: the first residency will commence oworkshop.html SW6 4TJ. exhibition of original work. To include at Great Ormond Street Hospital for DEADLINE: 11 February opportunities for practical activities Children in June. The artist will be required involving children, young people or other to work on site for part of the residency Mail art Acme Studios community groups. involving a group of patients and staff in WHAT: Acme Studios has undertaken a WHERE: Belmont Arts Centre, Shropshire. the development of a piece of work for Love Photography detailed survey of artists’ studio provision WHEN: residencies throughout the year. permanent display in the daycare centre WHO: are you in love? Are you infatuated in England. A report will be published in FEE: 60per cent share of income earned where haematology patients have their by something? Are you uplifted –by love? April 2005. The survey and register is from chargeable activities such as transfusions. Have you been crushed by love? Are you in limited to non-profit groups or workshops and performances. The centre INFORMATION: send A4 SAE (42p) to danger of loving too much? Is love driving organisations in England, either currently will assist in devising a programme and be Paintings in Hospitals, The Menier you crazy? Are you looking for love? Are managing or planning to develop studio responsible for its coordination and Chocolate Factory, 51a Southwark Street, you looking –for love online? Are you too space and focuses on projects which are marketing. London SE1 1RU, soppy for your own good? wholly or mainly for fine artists. TO APPLY: send proposal (max two sides www.paintingsinhospitals.org.uk DETAILS: calling all passion flowers. TO APPLY: if you have not already been DEADLINE: 15 March Professional female photographer is contacted, to ensure that you are included A4) highlighting opportunities for See display ad looking for male and female subjects for in the register please contact Calum F Kerr, participation, details of current and recent photography project based around the Acme Studios, 44 Copperfield Road, artistic practice and details of two theme of love. Resulting photographs will London E3 4RR, 020 8981 6811, professional referees to Martin Sumner, Digital Artist Residency WHO: creative Flash artist/designer. become part of an exhibition and book. [email protected] Belmont Arts Centre, 5 Belmont, Teaching experience essential. Looking for models in East Anglia, London See display ad Shrewsbury SY1 1TE, 01743 243755, WHAT: 3-4 day sixth-form residency with and York. www.shropshireonline.gov.uk/belmont.nsf highly motivated and talented visual art CONTACT: Stephanie, DEADLINE: 1 March Publications students developing a digital animation [email protected] Please contact project. Theme open to suggestions. me with a brief synopsis of your tales of Lyndons Arts Trust WHERE: The BRIT School, Croydon. love and your contact details. Refocus Now WHO: artists working in media not usually WHO: photographers, illustrators and fine DEADLINE: ongoing available to primary school children such WHEN: June/July 05 (to be agreed). artists. as ceramics, glass, wood, metal, mosaics, TO APPLY: send short CV, project proposal WHAT: Refocus is currently reviewing work wire, textiles. and examples of work to Harry Poole, Is Printmaking Dead? for second stock catalogue to be published DETAILS: send a postcard with your WHAT: resident artists with children’s Head of Visual Arts and Design Spring 05. In addition to including stills comments/image and address. Final book groups in communities across London. This Department, The BRIT School, 60 The imagery for all media licensing purposes, it Crescent, Croydon CR0 2HN, 020 8665 sent to all participants. is an artist-led sculpture project to promote will include an original artwork and a SEND TO: Libby Jones, 33a Lauderdale 5242, [email protected] limited edition prints section. Volume One the ideals of Rights and Humanity. The Drive, Richmond TW10 7BS. www.brit.croydon.sch.uk which is all stills imagery can be seen on- aim is to run the project for five full days See display ad DEADLINE: 31 March line. Work submitted for inclusion in this or ten half days over Easter holidays and Summer Half Term or split into sections new artwork section must include the title London Print Studio Professional development of the artwork, the size of the artwork, after school to suit artist’s time table. WHO: deaf and disabled artists. medium, the price of the artwork and the WHEN: April - July, with exhibition at the WHAT: support for artists through the OK Studios number of editions if applicable. This RCA at the end of July. provision of facilities and resources, with WHO: emerging and professional artists section is being included to support the TO APPLY: send CV, visuals and outline of the aim of improving existing activities and invited to complete short questionnaire. sales of original artwork, catalogues are chosen subject to Mary McGowan, Lyndons the development of future programmes. WHAT: charitable organisation based in distributed to buyers at trade/consumer Arts Trust, 7 McGregor Road, London W11 WHERE: London Print Studio. Standish, just north of Wigan, is currently shows through targeted Direct Mail and 1DE, 020 7792 3265 (8am-6pm). No DETAILS: participating artists are expected conducting a survey of studio requirements associated exhibitions. emails please. to make the outcomes of their workshop locally. DETAILS: Please email info@refocus- See display ad practice available to staff and users www.a-n.co.uk through appropriate and agreed means of a proven lucrative market. presentation. CONTACT: 01273 770083, TO APPLY: artists who would like to submit [email protected] a proposal should make an appointment See display ad to visit the studio and talk through ideas with a member of staff. Chapel Gallery CONTACT: London Print Studio, 425 WHO: contemporary jewellery makers. Harrow Road, London W10 4RE, 020 WHAT: jewellery required for retail area of ORTFOLIO AYS 8969 8271, www.londonprintstudio.org.uk art gallery. P D 2005 DEADLINE: ongoing TO APPLY: send images of work, price list, artist statement and CV to Joanne Fotonet-south’s Portfolio Days are excellent opportunities to Selling Nicholson, Chapel Gallery, St Helens Road, show and discuss your work in a small group. Each day is led Ormskirk L39 4QR, 01695 571328, by the artist who is exhibiting at the venue and another [email protected] professional from the field of contemporary photography. Printfest 2005 WHO: artist printmakers of all disciplines. DEADLINE: 30 April They both talk about their work and then with the group view WHAT: opportunity to exhibit and sell everybody’s portfolios making for helpful and lively discussion. work at international art fair. New Gallery WHERE: The Coronation Hall, Ulverston, WHO: all artists – any style, any media, Cumbria. any subject. 5 March Anne Hardy at Artsway, Sway, Hampshire WHEN: 14-15 May. WHAT: submissions for future selling 16 April Phil Collins at MKG, Milton Keynes COST: £80 per 2.5m hanging space. Self exhibitions, on-going retail display and manning. inclusion on ‘Gallery Artist’ list. 21 May Tomoko Yoneda, who is exhibiting in "Counter WHERE: artist-run gallery in Fife, Scotland. Photography" Contemporary Japanese TO APPLY: send visuals and SAE to Ronkey Bullard, Olive House, 45 Lightburn Road, TO APPLY: send photos with CV (both will Photography at South Hill Park, Bracknell, Berks. Ulverston, Cumbria LA12 0BX, 07740 be held on file) to: The Mercat Gallery, The 18 June Andrew Carnie at Horsham Arts Centre, Sussex 287259, Cross, Culross, Fife KY12 8HT, or email [email protected] (with jpgs, max 2MB) to: [email protected] Cost: £15, £5 unemployed, lunch included. www.printfest.org.uk DEADLINE: ongoing For more information and bookings: [email protected], DEADLINE: 31 March [email protected], 02380 597003 In the Tracks of Hercules Sus Art WHO: all artists. WHO: artists and sculptors. www.fotonet-south.org.uk WHAT: submissions on the theme, WHAT: sell work direct to the public. exploring the many facets of Hercules’ WHERE: exhibitions in Sussex. Fotonet-south is now based at : spiritual journey, for website gallery, and to TO APPLY: send images, CV and SAE to The Winchester Gallery, Winchester School of Art, Park Avenue, be sold at exhibition in Dec. Brenda Brooks, Sus Art, 35 West Parade, Winchester, SO23 8DL CONTACT: Helen Durant, In the Tracks of Worthing, Sussex BN11 5EF. Hercules, Suite 54, 3 Whitehall Court, f London SW1A 2EF, 0870 770 1653, Animal Exhibition [email protected] WHO: contemporary artists, sculptors, www.lucistrust.org/hercules designers, makers, craftspeople, 2D or 3D, DEADLINE: 31 July (literary), 30 April any media. (performing) WHAT: selling exhibition looking for work which uses the popular subject of animal THE PRINCE’S SCHOOL OF Printfest 2005 forms in a contemporary way, from the TRADITIONAL ARTS WHO: artist printmakers of all disciplines. concept of ‘animal’, to their forms and WHAT: opportunity to exhibit and sell personalities. VISUAL ISLAMIC & TRADITIONAL work at international art fair. WHERE: The Beetroot Tree, Draycott. ARTS PROGRAMME WHERE: The Coronation Hall, Ulverston, WHEN: 4 June - 3 July. TO APPLY: send CV, artists statement, HIGHER DEGREES IN TRADITIONAL ARTS Cumbria. WHEN: 14-15 May. visuals and artist prices with SAE to Sue The V.I.T.A. Course offers a unique COST: £80 per 2.5m hanging space. Self Harrold, The Beetroot Tree, South Street, opportunity to study both the theory and manning. Draycott DE72 3PP, 01332 873929, practice of Visual Islamic and Traditional TO APPLY: send visuals and SAE to Ronkey [email protected] Arts at higher educational level. Bullard, Olive House, 45 Lightburn Road, www.thebeetroottree.com Ulverston, Cumbria LA12 0BX, 07740 DEADLINE: asap As well as PhD degrees the following three courses are 287259, [email protected] www.printfest.org.uk validated by the University of Wales: English Eccentrics DEADLINE: 31 March WHO: contemporary artists, sculptors, (1) M.A. (Practical Course) designers, makers, craftspeople, 2D or 3D, (2) M.A. (Project Course – half practical/half theory) Spring Show any media. (3) MPhil (Degree by thesis) WHO: 2D and 3D artists. WHAT: selling exhibition looking for work WHAT: unthemed selling exhibition by artists whose work is inspired by the The study of the theory and meaning of the traditional arts are a featuring all styles of work in any media, perception or idea of ‘English-ness’ but special feature of the V.I.T.A. programme. The course work is including glass, ceramics, jewellery. with a contemporary twist. WHERE: Obsidian Art Gallery, Stoke supported by first hand experience of the traditional arts WHERE: The Beetroot Tree, Draycott. Mandeville. WHEN: 16 Apr - 30 May. through working sessions with traditional artists and craftsmen. WHEN: 17 Mar - 10 Apr. TO APPLY: send CV, artists statement, Students are encouraged to pursue their own particular skills – APPLICATION FORMS: send SAE to visuals and artist prices with SAE to Sue whether it be painting, woodcarving, jewellery, stained glass, Obsidian Art, Layby Farm, Old Risborough Harrold, The Beetroot Tree, South Street, ceramics etc, at the same time as attending classes in geometry, Road, Stoke Mandeville HP22 5XJ, 01296 Draycott DE72 3PP, 01332 873929, 612150, [email protected] methods and materials, clay craft, arabesque and others. [email protected] www.obsidianart.co.uk www.thebeetroottree.com DEADLINE: 15 February DEADLINE: asap For further details contact: The Administrator, V.I.T.A. programme, Artists Wanted WHAT: Arthouse Gallery Cafe, the largest Errata The Prince’s School of Traditional Arts, Last month we printed a listing for the 19-22 Charlotte Road, London EC2A 3SG. and newest commercial contemporary art gallery in Brighton & Hove is now inviting Wingate Scholarship under the Awards Telephone 020 7613 8500 Facsimile 020 7613 8599 submissions from artists of all disciplines. section. This opportunity was aimed at Email: [email protected] As well as the sale of fine art we will be crafts people and designers and not Registered charity no. 1101538 looking to provide a retail outlet for high specifically at visual artists as implied. Working to connect the art of building & the making of community quality hand-crafted goods such as We’d like to apologise for our error and jewellery, ceramics and furniture to supply any inconvenience it may have caused.

52 Opportunities Online listings and display adverts are updated every Thursday by 5pm a-n Magazine February 2005 Art and Design Jane 4/1/05 11:00 am Page 1

Postgraduate Certificate Business and Digital Skills for Artists and Designers

School of Art and Design, University of Hertfordshire February - July 2005 - Enrol now while places remain!

• Accomplish a step-change in your professional practice! • Use business tools for your career progression! • Take your creative career further! Developed for artists and designers at an emergent stage of their career who require further professional development taught by creative professionals!

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School of Art and Design offers: • First class facilities in modern, well equipped studios and workshops • Close and professional links with the creative industries • Campus university close to London

For further information and an application form please contact the School Office on 01707 285300

Large Format Digital Printing: Printing, Mounting and Presentation Techniques At the School of Art and Design, University of Hertfordshire. Three-day workshop for Artists and Designers 11th - 13th April and 11th - 13th July 2005. This practical introduction to imaginative and innovative applications to digital printing includes: • image input • digital printing • mounting • installation School of Art and Design offers: • first class facilities in modern, well equipped studios and workshops • close and professional links with the creative industries • campus university close to London For further information and an enrolment form, please contact the Short Course Office on 01707 285300 or email: [email protected] (1964) www.a-n.co.uk Artist’s toolkits on www.a-n.co.uk

Interactive professional development resources designed to improve skills and working relationships in the visual arts

FREE ACCESS SUBCRIBER ACCESS NEW The artist’s fees toolkit The artist’s contracts toolkit

A practical framework especially commissioned from chartered Interactive material that creates a thinking and learning process accountant Richard Murphy designed to enable artists to take around professional arrangements, ensuring artists are aware responsibility for their working arrangements and establish their professional responsibilities. suitable charge rates for their work that take into account: Direct sales agreement – covers sales to galleries, Remuneration levels for comparator professionals. private buyers and shops. Costs specific to freelance working. Exhibition agreement – sets the environment to discuss a gallery’s own contract or to draw up your own terms An artists’ particular circumstances and location. prior to negotiation. How an artist’s knowledge and experience level impacts Residency agreement – exploration of the terms, conditions on charges. and responsibilities to either build a customised agreement or check a host’s own contract. Includes guidance on working through the toolkit, and in-build calculation of day and job rates including an automatically Sale or return agreement – provides a clear generated quote for a specific project and sample format for a record of a mutually-agreed arrangement covering ownership, quotation letter to accompany applications and proposals. insurance, payment for work sold, etc.

“Excellent.” Arts organiser ALSO Commissions checklist, Gallery, dealer and agent checklist and licencing reproductions checklist PLUS guidance on selecting a solicitor, agreeing a contract, getting legal advice and what to do when a contract goes wrong.

“This toolkit and the contract builder are comprehensive and flexible.” Get the companion 12-page Noah Rose, artist and artists’ trainer publication Establishing a charge rate for a working artist by Richard Murphy. FREE when you subscribe to a-n – see details on page 19.

FREE ACCESS FREE ACCESS The studios toolkit The artist’s development toolkit

Offers a unique step-by-step guide to thinking through and Self-reflective material for artists at all career stages, enabling developing group studios. Ideal for groups of artists embarking them to review their position and explore new development. on a new scheme and for existing groups that need to assess development routes. Provides a basis to define a vision, look at You and your practice – defining yourself, your audience and options, test feasibility and consider sustainability. identifying development areas.

Artists can also use it to guide discussions with architects, Reviewing your position – taking stock of achievements and consultants and developers to make sure core values are retained strengths and creative skills. in the process of translating ‘vision’ into ‘bricks and mortar’. Moving forward – looking at where you want to “We have found the studios toolkit invaluable. We’ve been be and how to get there. using it to compose out application forms and constitution and to inform us with matters regarding the landlord and “We would recommend The artist’s development toolkit to all tenants’ license and lease” artists planning to undertake courses on the professional Valley Artist, Bacup, Lancashire, 2004 development programme at Space.” Lucy Day, Director of Arts Training & Resources Space

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To check out the benefits and costs, go to page 58.

Individuals can subscribe on www.a-n.co.uk and get immediate password access. To advertise in Art vacancies contact the Communications Art vacancies and Sales team on +44 (0) 191 241 8000 Promoting salaried posts to 30,000 artists and arts professionals F: +44 (0) 191 241 8001 every month in a-n Magazine and on www.a-n.co.uk [email protected] Deadline: 10 Feb for Mar issue

Art Technician CALLING EAST at Whitgift School, South Croydon on Tuesdays, Thursdays and Fridays MIDLANDS during term time, wanted to join ARTISTS! thriving art department at successful Emaca Visual Arts is calling for boys' independent day school. black and minority ethnic Visual and Previous experience desirable. Craft based artists who can conduct Preparation of all art classes including workshops around the theme of b/w photography, printmaking, ICT, community safety in the Nottingham ceramics and sculpture. NG7 area. For an application form please These workshop sessions are aimed at telephone the Bursar's Assistant on socially disadvantaged groups particularly young black males. 020 8688 9222 or write to the Bursar's Assistant, Whitgift School, The workshops will take place between the dates of 14th Feb and the 31st March Haling Park, South Croydon CR2 2005 at the ‘Art Exchange’ Building. 6YT. Completed application form accompanied by letter of application Each session will be split between 10am-12pm and 2pm-4pm on selected and CV required by Monday 7th weekdays and weekends. February, 2005. If you would like to facilitate workshops please send a CV and a sample of your work to the following: opportunity for artist (pt) (SAFE Project), EMACA Visual Arts, 39 Gregory Boulevard, Hyson Green, in art/architecture practice Nottingham NG7 6BE. involved in strategic public Email: [email protected] art and urban regeneration Or alternatively call: 01159 244611 and apply by letter: muf 49-51 ask for Jason Smith. Central Street London EC1V 8AB by 14.02.05 RYE ART GALLERY EAST SUSSEX Manager with experience in EDITIONER promoting exhibitions and (etching & collagraph) sales required during 3 days week. Suit printer needing facilities for further redevelopment at the Gallery. editioning/platemaking This appointment will be Beautiful central London studio send CV, with images part-time for one year. preferably email Details from Anthony Kimber [email protected] 10/11 Bishops Terrace, on 01797 222831 or London SE11 4UE [email protected]

Join the Editorial Production Team

We’re seeking an Editorial Production Assistant with excellent IT skills to join the Editorial Production Team based in our Newcastle offices, to contribute to our exciting publishing programme for 2005.

Information pack and application details on www.a-n.co.uk homepage To advertise in Directory Directory Contact the Communications and Sales team on Directory listings for specialised services including, Accommodation, Casting, Courses, Equipment, +44 (0) 191 241 8000 For sale, Framing, Galleries, Holidays, Internet, Materials, Opportunities, Personal, Photographic, F: +44 (0) 191 241 8001 Posts available, Print, Services ,Studios/workshops, Suppliers. [email protected] Next deadline: 7 Feb for listings 8 Feb for display ads

Accommodation SET ON THE BEAUTIFUL ISLE OF Woolavington School of Art ARRAN, Scotland. 29 May - 3 June CROFTHOUSE + STUDIO, OUTER RED TEMPLE Somerset 2005, Sculptural Ceramics Workshop, HEBRIDES, self catering, sleeps six, over- 1 to 4 day courses in The Burnside Gallery, Brodick. Explore the F i n e A r t C a s t i n g s Drawing & Painting looks Atlantic ocean, stunning beaches Life Sculpture creative use of hand-building techniques and coastline and much more. 01876 Stone Carving plus and the exciting potential of paperclay. 510213, www.geocities.com/mary- 12, Keyhill Drive, Hockley, Birmingham, B18 5NY various craft courses Tutors: Cathy D’Arcy and Mary Pritchard. bean22000 Telephone/Fax: (0121) 515 4545 For a Brochure contact linda on An exhibition of their work will be on www.redtemple.co.uk 01278 684512 Fax 01278 424269 email [email protected] show in the gallery from 27 May until 16 June. Contact: The Burnside, 01770 Casting I’LL CAST ANYTHING! Difficult or WEEKEND AND MIDWEEK COURSES 303888, [email protected] unusual jobs a speciality. Call Ben on WITH NICOLA SLATTERY. Mixed 07960 821273 or visit www.moule.co.uk Media, Discover Printmaking, Acrylic LIFE-DRAWING WEEKEND in Victorian Established Painting, Collagraph, Collage. Lovely seaside town Llandudno, with renowned THE FINE ARTS FOUNDERS THE BRONZE WORKS. Norfolk venue. Optional B&B. Telephone artist Helen Lopez. Staying in a family- SINCE 1848 1980. Lost wax bronze casting service. Contact Chris Boulton, Sheffield, tel 0114 for brochure: 01493 748833. run hotel with full-board, drawing two Specialist services in 255 4376. E [email protected] www.nicolaslattery.com casting, enlarging and patination models over the weekend. Please contact W www.chrisboulton.freeuk.com for brochure and cost. Email: Morris Singer Ltd, Lasham, LIFE DRAWING DROP-IN CLASS, two Hampshire GU34 5SQ OPUS STUDIO. Visit www.opus- models, 1-4pm Fridays during term time, [email protected] 01256 381033 studio.com Mould making and casting in 16th century Lauderdale House, Tel: 01492 877996. www.morrissinger.co.uk for sculptors and designers. Highgate, London N6. £8/£6 concs. Also LA MOSTRA GALLERY (Cardiff) runs Tel 01761 451450. Fax 01761 453955. termly and summer classes in water- week-long art courses and creative Ceramic Shell, Sand Mould SCULPTURE CASTING bronze resin, colour, figure and introductory. retreats at Belmont Abbey, Hereford. Origination and Enquiries: 020 8348 8716. Enlargement concrete, plaster, moulds taken in silicone Residential/non-residential. Patination and Restoration rubber, over 12 years experience. Contact: runs week-long painting Ring 02920 492225 for brochure. services PAINT ITALIA Simon 020 7722 9398. courses in a medieval castle in a delight- Art Founders Ltd Email: [email protected] M: 07941 030246. ful hilltop village close to the Tuscan 9 Swinborne Drive, Springwood Ind Est NON-TOXIC INTAGLIO-TYPE PRINT- Braintree, Essex CM7 2YP. 01376 343222 For borders. www.paintitalia.com GLASS CASTING BY LOST WAX. as taught by Keith Howard. Fax 01376 341793 excellent quality and expert service Tel: 0039 0543 444388. MAKING [email protected] www.artfounders.co.uk Courses and consultancy. Contact Sarah contact Bruno Romanelli STONE LITHOGRAPHY short courses Godfrey, Pg/Dip for further details. 020 8674 8186. and editioning in south-west London T 01246 822997, 07761 627078, parkland studio (30 mins from Victoria E [email protected] C A N O N B U R Y Courses Station). Contact Simon Burder, tel/fax A R T S L T D 020 8542 4541, www.oaksfineart.co.uk LIVING WILLOW SCULPTURE weekend course, West Dorset. Limited New materials STONE CARVING at Bawdsey Manor, places/accommodation, meals included, Suffolk. Three-day residential workshops New Low price silicone rubber March 12-13. Also peaceful, self-catering in stunning location by the sea. Full garden cottage, sleeps 2+2, New Bioresin non toxic resins board accommodation in Manor House: studio/pottery, Axe Valley. New Turner acryl gouache new single/twin rooms with magnificent sea 01460 220201. colours views. Tel for brochure: 01277 651874, New web site info on www.sculptureinstone.co.uk www.canonburyarts.co.uk Equipment CURWEN PRINT STUDY CENTRE, New linen canvases coarse or Chilford Hall, Cambridge. 01223 fine,clear or white primed QUALITY ETCHING/RELIEF PRESSES. 892380. 2005 Course Programme Professional, reliable, easy to use, bench New ready made frames includes combined techniques and and floor standing models available. Bed 266 Upper Street London N1 2UQ Masterclasses. Tailor-made courses to widths 12”-18”. Details: John Pears. meet your needs. Printmaking workshops T 0044 (0)20 7226 4652 Tel 01388 818004. F 0044 (0)20 7704 1781 for all ages and abilities in Screen-print- ing, Photo Screen, Etching, Photo OVERHEAD PROJECTORS from £85, Etching, Relief, Intaglio, Monoprinting, good basic machines cleaned and tested. short courses Photo Lithography, Stone and Plate Price includes insured delivery. Call Lithography. Crostrading on 01487 740063. screenprinting [email protected] Email [email protected] etching www.curwenprintstudy.co.uk TEMPORARY EXHIBITION WALLS, par- ADVANCED LIFE DRAWING CLASSES. titions, stands. Free standing or con- lithography Inspiring days, evenings, weekends. structed on site, plinths/display systems, photoshop Mainly graduates. Details, June Collier long or short term rental or purchase. 020 7435 1217 (West Hampstead) Delivered and installed. Call Mark at SCS 425 harrow rd london www.discoverdrawing.com Tutorials and 01424 713870 or 07775 625897. tel: 020 8969 3247 Creativity Counselling also available. For sale FINE ART CASTING IN BRONZE www.londonprintstudio.org.uk THE FRINK AT MOORLANDS LOST WAX GALLERY, Cross Street, Leek, CERAMIC SHELL Staffordshire ST13 6BL, telephone 01538 WINSTONE DIRECT LITHO PRESS, bed ARCH 22+24 ALMOND ROAD 266983, [email protected] Weekend 32”x22”, excellent condition complete BERMONDSEY and short courses, life and portrait mod- with rollers, stones, plates. Must go, LONDON elling, wood/stone carving, casting, £2,000. Also A0 six-drawer plan chest. SE16 3LR To advertise in Directory TEL/FAX 0207 394 6572 call 0191 241 8000 welding, life drawing, painting and [email protected] or etching. 020 8941 2117 Hampton Court.

56 Directory a-n Magazine February 2005 ROCHAT FLOOR STANDING ETCHING ALPINE GALLERY AND COFFEE SHOP, PRESS, double-geared, 26”x48”, very Betws y Coed LL24 0AE. Hanging space good condition, £3,000 ono plus deliv- available for Fine Art Graduates. Small ery. Enquiries: Ron King, telephone charge, 25% commission. For details 01243 573204, Seagrass, Smuggler’s send SAE attention Sandra. for all your Lane, Bosham, West Sussex PO18 8QP. EXHIBIT AND SELL ON sculpture HUNTER PENROSE LITTLEJOHN (HPL) PICASSOMIO.COM leading online requirements, etching press no 10957/1, bedsize gallery for contemporary art. Since 1999, 710mm (28”) wide by 1220mm (48”) sales in over 30 countries. ArtsWorld TV including long, £2,500. Kimber etching press, (SKY) called us “the best place to buy art scaling up bedsize 483mm (19”) wide by 910mm online”. For details visit: 272 Island Row, Limehouse, (36”) long. Minor damage to end blocks. www.PICASSOMIO.com £1,000. Buyer collects. All enquiries to Docklands, London E14 7HY , Highgate. Lively Mr R Lander, Technical Manager, Faculty LAUDERDALE HOUSE Tel: 020 7538 1388 Arts Centre with three large, attractive of Art and Design, University of Fax: 020 7538 9723 gallery spaces for hire in historic venue. Email: [email protected] Hertfordshire, College Lane Campus, Sculpture by Contact Mary 020 8348 8716. www.bronzeage.co.uk Hatfield, Herts AL10 9AB. Jonathan Wylder Tel 01707 285365. WINDSOR STREET GALLERY: self-con- tained gallery, now a well-established FRIENDLY : QUALITY : SERVICE Framing venue, centre of Chertsey, Surrey. High Street location, window frontage, near station. Available for hire one/two weeks, 37sq.m floor space, 50sq.m hanging space. £125 per week, no com- Canvases & Stretchers mission. Also hire of printing press in Chunky 3cm deep studios by arrangement. Please phone 10% off for mail order 01932 571854. Non-Warping Stretchers Exclusive to Dyers Mill cms (ins approx) now £ inc vat Holidays non-warping stretchers 20x20 8x8 3.60 economical £2.50/metre 30x24 12x10 4.77 standard £3.99/metre Idyllic Czech Farmhouse 40x30 16x12 6.30 extra deep £5.99/metre free catalogue 60x50 24x20 12.06 Painting Holiday tel 01453 886560 15-20 June, 2005

Paint and draw in beautiful Bohemia The Finest You Can Buy under tuition of David Quirke, landscape and portrait artist All inclusive: morning and CENTRAL LONDON FRAMING without afternoon tuition in studio + ‘Central London prices’. 24hr mount- countryside, stylish accommodation, cutting service. Entire range of Studland all food & beer & wine, all transfers. mountboard including conservation Studio 28 quality. Custom-made frames including £455 or £225 for non-participating hand-finished and gilded. Ready-made partners London N.15 and box frames. Full range of art materi- See www.czechfarmhouse.com or als and mail-order service. Stretcher bars 07940 823937 and canvas-stretching service available. For further information contact: Daler- VILLAGE HOUSE, ALPUJARRAS, Live/Work Units to rent Rowney Percy Street on 020 7636 8241 Andalucia. Quiet, simple, rural. Sea view. from £600 per month for 530sq ft [email protected] 12 Percy Street, £140pw March; £160 April-June; £190 W1T 1DW. July-Aug. Tel 020 7730 6561. and Studio Space available WWW.ARTANDSOULFRAMES.COM STUDIO, SLEEPS THREE. Chesil Beach, Quality framing for artists from North Portland, Dorset. Stone historical build- London workshop, est 1989. Great choice ing, close to sea, skylights, c.h., from 020 8809 2580 and value; box-frames; acid-free mounts. £160 per week. www.ranterslodge.co.uk Email [email protected] For advice call Rebecca 020 7263 0421. Tel 01305 822096, mob: 07887 945034. www.studio28london.com Galleries TUSCANY, LUCCA. Lovely apartment within walls of medieval city. Also cot- . Unusual JOINTURE STUDIOS, SUSSEX tages in surrounding hills, great for and spacious gallery for hire in Ditchling, painting, eating, drinking, relaxing. SIMIA WALL ACCOUNTANTS near Brighton (formerly Sir Frank Tel 020 7278 0672, Brangwyn’s studios). Suits exhibitions/ With offices in the City and near Highbury Corner, we are email [email protected] workshops/ small conferences. THE FINE ARTS ACCOUNTANTS Reasonable rates, no commission, flexible BARCELONA: 2-BED FLAT, Barri Gotic dates. Tel: 01273 841244, artistic centre. 100 metres Picasso Let our 30 years of experience lead you through the jungle of www.jointurestudios.co.uk Museum. Bohemian and comfortable. Self-Assessment,Accounting,VAT and Tax Compliance £350pw. Telephone: Pamela in FOR HIRE, ATTRACTIVE GALLERY 020 8993 5697. Initial consultation – no charge Dickensian walkway, heart of All fees discussed before work undertaken Bloomsbury. Woburn Gallery, 14 Woburn SPAIN: ANDALUCIAN VILLAGE Walk WC1H 0JL. 020 7388 5550. SAE HOUSE. Artists/walkers paradise. PHONE: TERRY HYMAN NOW ON for details. 2500ft up from coast. Two double bed- 020 7283 1604 rooms, two baths. www.casavanda.co.uk HIGHGATE GALLERY. Impressive 19th FOR AN EARLY APPOINTMENT century vaulted hall, 10.8 x 8.1 metres. Tel: 01749 343276 for brochure. 23.9 metres clear display space. No com- WATERMILL IN POITOU TO RENT, 178 Bishopsgate, London EC2 52 Holloway Road, London N7 mission. Tel 020 8340 3343, sleeps six, from £700pm Oct to May. (opp. Liverpool St. Station) (nr. Highbury & Islington Station) www.hlsi.net www.moulin-lacombe.com CREATIVE RETREAT: two self-catering THE SCULPTURE SHOW York, June 6th- NORTHWEST BASED PHOTOGRA- houses with studios, sleeps 6 or 8, both 8th. This art fair devoted to contempo- PHER working nationally. Experienced in 18th Century fishing village, northeast rary sculpture invites sculptors to apply documentation of artwork, exhibitions Scottish coast. Wild seas, huge skies. We to show their work. For information and PR. Digital/conventional. Studio/location. To discuss requirements can pick up/drop off at Aberdeen airport contact [email protected] tele- and receive a free quote, call JC or rail. www.creative-retreat.co.uk phone 01904 673129. T: 01261 812276. Photography, 0151 924 7576, E: [email protected] email: [email protected] Personal QUIET HAMLET NEAR NEWLYN, DOCUMENTATION + REPRODUCTION Cornwall. Beautiful self-catering apart- QUALITY 35mm, 6x8cm, 5”x4” trans- MALE ARTISTS MODEL, 26, experi- parencies. Competitive prices and quick ment with conservatory and garden. enced in life modelling for colleges, turnaround. Also tran to CD and slide Sleeps 2/3. Close to beaches, moors and private groups and photographers in the duplication. E3 London studio and loca- galleries. For details: 01736 731935. London area. Available day or evening. tion. Bob at Knife Edge Photography. HOLIDAYS FOR GROUPS OF For full details tel 07946 354852, Tel 020 8981 8385/07941 943667. near Cardigan. Gourmet veg- PAINTERS email: [email protected] SOUTH-SOMERSET-based, east-of- etarian cuisine. Large studio. Three acres EXETER. Perfectionist, on-site 2/3D art woodland gardens. £40 per day full photography, 35mm/digital. Pay only if board. Tel 01239 682119. – Photographic satisfied. Slide-border masking, all digital Artists Newsletter Advert 10/8 www.glanhelyg.co.uk services including portfolios. Also artists’ HOLIDAY LETS in mountainous region website implementation, specialising in of Lanzarote, 400-year-old farmhouse Click... simple, easy-to-use faultless designs. Will with artists studio and swimming pool. travel throughout south-west. Please see petrolcards Professional fine art photography service For full details call 07976 052720 or for artists, galleries and collectors. www.davidcporter.co.uk and/or phone email [email protected] David, 01460 238588, 07866 700852. fast turnaround Conventional, digital & location Specialist studios in North London Posts available superb quality Internet Large format work Scanning and retouching at competitive prices CD Presentations ETCHING ASSISTANT required. Central OUT OF NOWHERE DESIGN, we spe- Digital Archiving London. 3-4 days per week. Low wage, • postcards • business cards • cialise in simple, stylish and functional Colour prints use of facilities. No experience necessary. artists websites. No templates used, each Colour profiling to ensure consistency • greetings cards • catalogues • Collection and delivery in London Suit recent graduate. Send CV to 4 Tile site built from scratch around your Competitive prices Kiln Lane, London N6 5LG. • posters • brochures • unique needs and wishes. From £199. 10% off with this ad www.outofnowheredesign.co.uk for your free sample pack [email protected] John Jones artSauce Print Stroud Green Road (corner of Morris Place), www.petrolcards.com SHOW AND SELL your work with a London N4 020 7281 5439 purpose-built website. Richard Wells, www.johnjones.co.uk fine digital print [email protected] 07961 114010, petrol cards 0800 072 6672 [email protected] We are specialist large-format www.artistswebsites.co.uk printers working with artists, digital WEBSITES TO REMEMBER. Platform artists and photographers.We use brings you contemporary and creative archival inks on fine watercolour approaches to web design for the arts papers & canvas up to 52” wide. sector. www.platformdesigns.co.uk We can print from your CD (free Tel: Rosy Naylor 07941 710304. test output) or reproduce original ARTISTS WEBSITES, BUILT, ADVER- work of any size or medium with a TISED, REGISTERED on The UK Artists DOCUMENT YOUR WORK with high large-format scan-back camera, Directory where visitors search for quality slides. 35mm, 6x9cm, 5’’x4’’ and artwork. Listed on search engines. From saving the cost of a transparency. digital. 2-D, 3-D and installations. East £50. www.goartists.co.uk For information & samples: [email protected] 01383 829634. London studio and location. charles howell 01672 871284 Tel/fax Peter 020 8889 5419, [email protected] Opportunities mobile 07957 651845. PHOTOGRAPHER SPECIALISING IN EUROART GALLERY – Calls for 2005: FINE & DECORATIVE ARTS. Studio or artists and curators. Send CV, statement, location work producing high quality four photos and SAE to Nigel Young, images on film or digital. South and Euroart Gallery, Unit 22F, 784/788 High South West. Call Keith Leighton, Road, Tottenham, London N17 0DA. 01225 866275 or [email protected] 07802 502136. email [email protected] High Quality Cards CALLS FOR VISUAL ARTISTS, Fine Art . SLIDES AND PRINTS of 2/3-D artwork From Only £59 LONDON EXHIBITION ENTRIES + carriage VAT Candid Arts Gallery, Angel, EC1 28-30 on location and in studio. Tel Patrick & Giclée Prints 020 8444 9046 or 07968 063813, From Your Photo, Slide or Disk Apr; Studio 95, Brick Lane, E1 30 Sept - 2 Full Colour, High Gloss Oct. Hiring artists for corporate art con- free estimates. NO SET-UP COSTS Please call for a free Sample pack LIMITED EDITION FINE ART sultancy projects. Send your website MOBILE PROFESSIONAL PHOTOGRA- address by email, samples photos/CV by 136 Lauriston Rd GICLÉE PRINTS ON FINE PHER documents all artists’ work. Victoria Park post. Visit www.ickenoxartshop.co.uk SOMERSET PAPERS USING London & South. 35mm, 6x6cm and London E9 7LH ARCHIVAL INKS Ickenox Fine Art, London House, scanning to CD. Low rates, highest email: [email protected] 271-273 Kings Street, London W6 9LZ, www.justpostcards.co.uk emergingART sell Fine Art quality. 01252 792960 or 020 8233 2817, Giclée Prints in online 07866 231178. 020 8533 4000 [email protected] Gallery & Print Shop by THE STUDIO POTTERY FAIR York, 4th- PHOTOGRAPHY FOR ARTISTS 1 day Publishing Seminars 6th July. This important show devoted to experienced former national museum how to get your art work published? professional studio pottery invites potters photographer. 35mm, medium format, emergingART publishing ltd 5”x4” and digital. Images on CD avail- ring for a quote: 0207 6221660 to apply to show their work. For informa- To advertise in Directory tion contact [email protected] able. Tel Rob 020 8773 9556. email: [email protected] call 0191 241 8000 web: www.emergingart.co.uk telephone 01904 673129. www.robpetherick.co.uk/artists

58 Directory a-n Magazine February 2005 Studios/workshops Polite Let the experts turn your art into print CARDS Design Friendly Card WIMBLEDON POSTCARDS • CATALOGUES • POSTERS Printing at Great Prices Postcards - Greetings Cards - ART GREETINGS CARDS • REPRODUCTIONS • GICLÉE PRINTS Business Cards - Square Cards - CD Cards - Invites - and more STUDIOS Call now for your FREE sample pack Send for our free Sample Pack today 01625 56 00 55 or email: [email protected] From: £29/week (inclusive) • South London's leading studios • Excellent natural light & high ceilings • 24 hour access (COLOUR PRINTERS) LIMITED • Secure Lowick House, Lowick, Near Ulverston, Cumbria LA12 8DX • Good parking & public transport Tel: 01229 885361 Fax: 01229 885348 • Major Exhibitions E-mail: [email protected] • Art Sales Via Web Site Website: www.abacusprinters.co.uk

Tel: 020 8947 1183 “A COMPANY RUN BY ARTISTS FOR ARTISTS” www.wimbledonartstudios.co.uk Property

W. SOMERSET, charming listed house. Between sea and hills, views across open Postcards • Business Cards fields. Formerly row of three cottages, Greetings Cards • Invitation Cards one is full height studio. Large garden, Special Folding Cards stream, springs. Historic village, shops, school, pub, buses. London 3.5hrs. 500 Postcards for £70 +VAT c£220,000. Tel 01379 788788. Full colour laminated on front, LAS ALPUJARRAS, SPAIN. Three storey black text on reverse. traditional terraced house, three bed- For our free sample pack please rooms, new bathroom, rewired. telephone 028 8224 9222 or write to: Mountains, Almena 1.5 hours. Viewing The Postcard Company Ltd March. £25,000. Mobile 07969 248799, Graham & Sons (Printers) Ltd [email protected] 51 Gortin Road, Omagh BT79 7HZ (near Tel: 028 8224 9222 Fax: 028 8224 9886 ACKWORTH, WEST YORKS THE POSTCARD COMPANY Leeds). Terraced house with large attic E-mail: [email protected] studio in quiet culdesac. Five other rooms Website: www.thepostcardcompany.com including kitchen/living room, sitting room, cellar, two bedrooms, bathroom. Outside: organic vegetable garden, splen- did stone workshop/garage, fruit garden at front. Freehold: £130,000. Harris: OUTH TUDIO 01977 611251. S S

SPACES AVAILABLE 80-1000sq. ft Services Private Mews next to Brockwell Park Conference/Meeting Rooms - Gallery Photo/Film Shoots - Available Weekly Call 020 8671 0011 07949 029441

Articole Studios Mouldmaking (on site if required), Cold metal casting, Patination, Fibreglass, Composite marble call for more details ARTISTS BOOKSEARCH SERVICE. We 01462 835640 find out of print art books. The search is www.articolestudios.co.uk free. Send lists, artists, subjects interested email: [email protected] in to Polytypic (Books Dept AN), PO Box 4163, Cardiff CF14 1ZR. Tel/fax 029 2033 7621 anserphone. KINETIC ART. Designer/technician For Sale experienced in mechanical animation and special effects can realise your proj- A unique property ects. Call Nick on 020 8537 2599. with separate SYMPATHETIC CHARTERED annex/studio. ACCOUNTANT for all your tax and Set within the accounting problems. Call Allon on Lincolnshire Wolds, 020 8954 4556. STUDIOS, OFFICES, STORAGE UNITS a designated place to let Chelsea/Fulham. 24hr access, car of outstanding parking available, 5mins F/Bway tube. beauty, offering From £45pw. Tel 020 7384 3714. stunning views, CUCKOO FARM STUDIOS, Colchester, privacy and Essex. From £50 month. Various sizes. seclusion. Print workshop. Exhibition space. Group Price: £355,000. shows. Open studios. Parking. 2 miles To advertise in Directory Contact: call 0191 241 8000 station. Contact 01206 843530 www.cuckoofarmstudios.org.uk 07876 466989 STUDIO/WORKSPACE/STORAGE in CENTRAL LONDON STUDIO, 900sq. ft Peckham, London. Natural light, high to share with two artists. Good light. M A I L O R D E R All Wheel ceilings, two minutes from Peckham Rye Friendly atmosphere. £190 per month A R T M A T E R I A L S Drive Lifting station, parking also available. inclusive. Call Trevor 020 7232 1916. View & order interesting & unusual 110 to 2,000sq. ft units. Call PRINT MARKET WORKSHOP, Chapter materials securely online SCULPTORS 020 7635 0000. Arts Centre, Cardiff, 02920 394999, www.heatoncooper.co.uk Experienced UK/Euro, On/Off Road E: [email protected] Haulier, Self Loading Crane, Packing H e a t o n C o o p e r S t u d i o PRINTMAKERS WORKSHOPS, West Water-based silkscreen, etching, stone Provided. Additional Goods in Transit Yorkshire Print Workshop. Open access, Grasmere, Cumbria Insurance upon request. lithography, relief and mono printing. Enquiries: t. 015394 35280 f. 015394 35797 three presses, digital, safe etching, Contact Pete Williams for: open access, Requestable extra services for Temporary or Permanent Mounting courses, darkroom. New members editioning, weekend workshops. Complimentary Hire Service Transport welcome. Contact Gareth: GRUMPY’S MILL STUDIOS. Spacious, Small Power Tools and Bits for Cutting and 01924 497646. light, secure units from £60 month. In Drilling Concrete or Steel, Generator, stunning hill town, Todmorden, close to Gantry and Handtrolleys and shared, part- FULL-TIME STUDIOS Manchester and Leeds. 01706 812898. PHONE KEITH BAKER time deskspace for designer/makers FOR DETAILS EC1. 24-hour access. Part-time: £9 daily; Supplier on 07836 627520 full-time from £220 monthly, plus on 01454 260698 deposit. Tessa, Clerkenwell Green Email [email protected] www.awdlifting.co.uk Association, 020 7251 0276, ARTISTS’ CANVAS www.cga.org.uk SPECIALIST FINE ART TRANSPORTA- STUDIO WORKSPACE NEWCASTLE, Cotton, Flax & Linen TION. Goods in Transit insurance. The Mushroom Works, Artists and in all widths & weights Contact Paul Robinson, 07760 138767, Designer Makers. 200sq. ft - 350sq. ft 01438 840386, studios and gallery space. Rates from WOLFIN email: [email protected] £110pcm + electricity. Tel: 07771 763414, www.mushroom- TEXTILES LTD works.com LIVE/WORK STUDIO SE13 LONDON 359 Uxbridge Road, TO LET. Attractive self-contained studio Hatch End, Middlesex HA5 4JN workshop in a newly converted Victorian Tel: 020 8428 9911 or 9955 warehouse. Situated on a large roof terrace, the space includes shower room, Monday to Friday 8.45-5.30 pm kitchen area and mezzanine. 15 mins Phone, write or call in To advertise in Directory To advertise in Directory from London Bridge via BR. From for samples and prices call 0191 241 8000 call 0191 241 8000 £510pm. Tel 020 8291 0685.

is available at these galleries, bookshops and newsagents

EAST ENGLAND RA Enterprises Sunderland NGCA City Library Canterbury Chromos Llandudno Oriel Mostyn Gallery Bedford Art Centre NW3 Camden Arts Centre and Arts Centre Craft Shop Emsworth The Art House Penarth Washington Gallery Cambridge Heffers Art & Graphic NW5 Owl Bookshop Farnham New Ashgate Gallery Ffotogallery, Turner House Shop, Heffers Booksellers, Kettles SE1 Books Etc, Southbank Centre NORTH WEST ENGLAND Milton Keynes Milton Keynes Powys Oriel Davies Yard Tate Modern. Intaglio Printmakers Carlisle Tullie House Museum & Gallery Ruthin Ruthin Craft Centre Colchester Firstsite at the Hayward Gallery. Art Gallery Oxford Blackwell Arts and Poster Minories Clitheroe Platform Gallery Shop. Modern Art Oxford Swansea Mission Gallery. Glynn SE11 Gasworks Gallery Vivian Art Gallery Holt Bircham Gallery SE14 Waterstone’s Kendal Brewery Arts Centre Portsmouth Artists Harbour Wrexham Wrexham Arts Centre Norwich Norwich Art Supplies. SW19 Fielders Lancaster Single Step Reading The Jelly Leg’d Chicken Waterstones Cooperative Arts Centre SW1P Tate Britain Ware Artshed Liverpool Bluecoat Display Southampton Southampton City WEST MIDLANDS SW1Y Waterstone’s. ICA Centre. Tate Enterprises Liverpool. Art Gallery Birmingham Birmingham SW3 Green and Stone EAST MIDLANDS Rennie’s Arts & Crafts. News From Southsea Aspex Gallery Museum Shop. Ikon Gallery SW8 Potterycrafts Nowhere Derby Q Gallery Sway Artsway Bookshop Waterstone’s New St WORTHING Morgans News Manchester Cornerhouse Leicester City Gallery Winchester Winchester School of Coventry Mead Gallery, University W11 Lyndon Fine Arts Waterstone’s (346). Blyth’s Artshop. W F Gadsby’s Ltd Art Shop of Warwick Rococo News Whitworth Art Gallery Lincoln Usher Art Gallery Ormskirk Chapel Gallery Stafford Shirehall Gallery Newark Rufford Craft Centre W1D Borders SOUTH WEST ENGLAND Preston Waterstone’s (358) Stoke-on-Trent Webberley Nottingham Blackwells W1F Cowling & Wilcox Bath Waterstones. Hotbath Nottingham Trent University, Contemporary Ceramics. Cass Arts Gallery Wolverhampton Wolverhampton NORTHERN IRELAND Waterstone’s (352), Angel Row W1T Contemporary Applied Arts Bournemouth Borders Books & Art Gallery Gallery, The Artists Shop Daler & Rowney Belfast Ormeau Baths Gallery Music Worksop Harley Gallery W1U Wheatsheaf Graphics Bristol Arnolfini Bookshop. Soma YORKSHIRE SCOTLAND W2 Walter Koenig Books Gallery Bradford Gallery II, University of Aberdeen Aberdeen Art Gallery LONDON W8 Waterstone’s. Cass Arts Cheltenham Waterstone’s (302) Bradford. Daley’s Bookshop Dumfries Gracefield Arts Centre E1 Atlantis European Ltd. WC1B Falkiners Fine Papers Exeter Spacex Gallery Halifax Dean Clough Ltd Dundee Dundee Contemporary Frome Black Swan Guild Whitechapel Art Gallery WC2E Waterstone’s Hull Ferens Art Gallery E2 Paintworks. Flowers East Arts Penzance Newlyn Orion Galleries WC2H London Graphic Centre Leeds Waterstones. Leeds Craft EC1M Books Etc Edinburgh Fruitmarket Gallery. Plymouth Plymouth Arts Centre Photographers Gallery. Borders Greyfriars Art Shop. Gallery of Centre & Gallery EC2A Artwords Books & Music. National Portrait Poole Study Gallery Modern Art Bookshop Sheffield Graves Art Gallery. Kingston upon Thames Gallery St Ives Tate Glasgow Borders. Street Level Millennium Gallery Kingston Arts Centre Photoworks. Glasgow Print Studio. Wakefield Yorkshire Sculpture Park N1 Canonbury Art Shop. Crafts NORTH EAST ENGLAND CCA WALES Council. Borders Gateshead Baltic The Centre for Aberystwyth Aberystwyth Art York Impressions Gallery N4 John Jones Contemporary Art SOUTH EAST ENGLAND Centre N7 Waterstone’s Newcastle upon Tyne Hatton Brighton Start Contemporary Cardiff Chapter To become a stockist of N8 T Vintiner & Co Ltd Gallery. Laing Art Gallery. Details, Gallery. Borders Books & Music. Cardiff Bay Craft in the Bay a-n Magazine call NW1 Regent Bookshop. Newcastle Arts Centre Artworker. Carmarthen Oriel Myrddin 0191 241 8000

60 Directory a-n Magazine February 2005 STUDIOS FOR ARTISTS IN LONDON

Acme Studios is a London-based charity supporting the development of fine art practice by providing artists with low-cost studio space. Acme currently manages over 350 studios in 11 converted buildings with inclusive rents from £6.00 per square foot per annum. Some studios are fully wheelchair accessible and we endeavour to address the needs of artists with apd differing disabilities. For further information and an application form to Artists Professional Development Network join the Studio Waiting List (available in print, large Supporting UK artists’ practice through information, advice, print and audio tape) contact: training and professional development programmes Acme Studios www.apd-network.info 44 Copperfield Road, London E3 4RR Telephone/Minicom: 020 8981 6811 Fax: 020 8983 0567 Email: [email protected] www.acme.org.uk

Supporting art and artists since 1972 a-n news

Bringing you updates and announcements on a-n people, partners and projects. EDITORIAL AND PRODUCTION [email protected] For more information about a-n partnerships see ‘About a-n’ on www.a-n.co.uk Editor, Gillian Nicol Production Assistants, Stephen Palmer, Nisha Duggal, Marjorie Stephen a-n out-and-about research by University of Newcastle in artists’ fees News, Susan Jones Reviews, Chris Brown a-n’s events and activities programme is on the and payments and the attitudes of employers; Lucy Commissioning Editors, John Beagles, Manick Govinda, increase for 2005, providing even more opportuni- Kimbell’s commentary around valuing artists; Brigid Howarth, Deborah Smith, Paul Stone ties for critical discussion and professional network- advice from artists’ adviser on nego- Rod McIntosh OPPORTUNITIES DEVELOPMENT TEAM ing for artists and their collaborators. tiating the right rate of pay for the job; a-n’s sub- Jo Coupe, Michael Cousin, Laura Eldret, Aviva Leeman An underlying principle for us when generating stantial review of the changing face of artists’ jobs ACKNOWLEDGEMENTS FOR THIS ISSUE external projects is to work in partnership with oth- and opportunities since 1989 and our analysis Manick Govinda (Now & then), Rosemary Shirley (Time to ers who share our philosophy that it is artists and between 1989-2004 of rates recommended by the travel), Deborah Smith (Tales of two cities) their practice that is core to cultural development, arts funding bodies or paid by arts organisations to COMMUNICATION AND SALES and that mutually-beneficial interchange between artists for residencies and workshops, with an Communications and Sales Team Manager, Angie Binns, artists, employers and other collaborators is vital for assessment of how these have fared in economic Communications and Sales Team, Maureen Royal, Phillip the well-being of the visual arts as a whole. terms against rates paid to selected professionals Marsden, Steve Wright, Sarah Warden, Financial elsewhere in the arts. Administrator, Anne Meikle, Sales and Financial Assistant, Robin Bootes, Jane Burns Forthcoming events include: Additional material will be added to this impor- 2 February Sheffield Hallam University – presenta- tant research resource over the coming months, mak- CONSULTANCY tion to MA fine art students within the professional ing a-n the primary source for professional artists and Linda Ball, Lee Corner, Julie Crawshaw, Richard Padwick (Knowledge Management) practice module. others who need expert advice and examples that Gateshead – presentation on UK and demonstrate good practice around valuing artists. BOARD OF DIRECTORS 23 February Alison Baverstock, Manick Govinda, Susan Jones, Jayne international artists’ networks for Baltic staff Responding to the debate around establishing Knight, Simon Pallett (Company Secretary), Esther Salamon March (date tbc) Changing Rooms, Stirling – Net- Artist’s Resale Right in the UK, our letter published (Chair), Paul Scott (Vice Chair), Nicholas Sharp, Susannah working Artists’ Networks event linked to gallery in The Guardian in January pointed out: Silver, Alastair Snow, Louise Wirz. programme; details next month “Our current research into artists’ fees and pay- Director of Programmes, Susan Jones 5 March City Art Centre Edinburgh – Fast forward, ments across the UK shows that although awareness Director of Development and Publisher, Louise Wirz professional and critical networking event for recent of the pivotal role of artists is higher than ever – Financial Services, John Kent visual art graduates in partnership with Talbot Rice within arts council and cultural industries agendas, Artists’ Networks Coordinator, Emilia Telese Artists’ Networks (North East), Catherine Bertola Gallery and Cultural Enterprise Office Glasgow. formal education, social change frameworks, and Norwich – Critical space, residential across into health, science, communications and Design, Ripe Design 18-20 March Print, Scottish County Press weekend for selected artists organised within the technology – and public employers appear to value Networking Artists’ Networks programme, organised artists for the unique portfolio of skills they bring to ADDRESS as a partnership with Making art work, Suffolk arts projects, they usually expect to pay all artists at First Floor, 7-15 Pink Lane, Newcastle upon Tyne NE1 5DW UK County Council. the same rate, regardless of career stage. +44 (0)191 241 8000 F: +44 (0)191 241 8001 23/24 April Derby – Fast Forward, professional With a growing, largely self-employed, artist pop- [email protected] www.a-n.co.uk and critical networking event for new and emerging ulation, at one end of the scale there are new artists Office open: 9-6pm Mon-Thurs, 9-5pm Fri artists in the East Midlands organised in partnership kicking off their careers with a mountain of student Closed 9.30-12.30, fourth Tuesday of each month for staff training with Loadstar and Arts Council; details in the next debt and at the other, established artists facing a issue. lengthy retirement period with no personal pension SUBSCRIPTION PRICES Artists’ subscription 5 May Cardiff – NALGAO annual conference, infor- in sight. £28 UK (Direct Debit £25), £35( 57) Europe, £48 Overseas mation point and breakout seminar. Just as with artist’s resale right then, it is a ques- All organisations and individuals 20-21 May New Greenham Park, Newbury – Close tion of making the exchange between the artist and £50 (Direct Debit £47), ( 80), UK, Europe and Overseas Proximity, organised by Helen Sloan (SCAN) and the market more equitable.” Subscribe online at www.a-n.co.uk artist/curator Jonathan Swain for the Networking You’ll find all this vital research material and The ISSN 02613425 artists’ network initiative, looking at the changing artist’s fees toolkit on www.a-n.co.uk>Knowledge © artists, writers, photographers and a-n: The Artists Information Company 2005. All rights reserved. No part of this publication may be reproduced, identity of areas in the shadow of London, in part- bank>Professional practice>Fees and payments. copied or transmitted in any form or by any means without permission of the nership with Artquest. publisher. a-n accepts no responsibility for loss or damage of material submitted for publication. The views expressed in a-n are not necessarily We welcome proposals from artists’ groups, arts Going, going, Grainne… those of the Editors or the Publisher. Published by a-n: The Artists organisations and all others interested to collabo- a-n’s new year began with a fond farewell to our Edi- Information Company. Registered in England Company No: 1626331 rate on and/or host events for artists and arts pro- torial Production Manager, Grainne Sweeney. After Registered address First Floor, 7-15 Pink Lane, Newcastle NE1 5DW fessionals in forthcoming months. working with a-n for three years she’s decided to Networking artists’ networks – focus more of her time on other activities: “I’ll be [email protected] [email protected] spending more time with my family, researching for a (Scotland) [email protected] (North East book art class and training for the New York England) Marathon.” As she is also Associate Curator for Cre- Fast forward – [email protected] ative Partnerships Durham Sunderland, working on Code of practice seminars – [email protected] long-term projects with artists Bill Drummond and Presentations for art and design students – Alec Finlay, collaborating with xsite architecture and [email protected] Cobalt to develop a ‘kit of parts’ approach to creat- Through advocacy and information and from ing modern living space in traditional housing, and, the perspective of artists, a-n’s mission is to New research hot off the press, will be joining The National Glass Thanks to a partnership with Arts Council Eng- Centre, Sunderland as Associate Curator, we’re sure stimulate and support contemporary visual arts land, we’ve extended the portfolio of material she’ll be keeping herself pretty busy! We’d like to practice and affirm the value of artists in society. freely available on www.a-n.co.uk around artists’ wish Grainne the best of luck in all her future pur- a-n: The Artists Information Company publishes fees and payments. Now included is in-depth suits and thank her for all her work at a-n. a-n Magazine and www.a-n.co.uk

62 a-n news a-n Magazine February 2005 www.a-n.co.uk to explore public art

Artists story: Front cover a-n Magazine December 2002 I recently completed a public art commission for the new Library and Learning Centre at Leeds Metropolitan University. I…

Artists story: Less is more a-n Magazine July 2003 Following graduation from the Royal College of Art, I undertook many major public commissions for clients including Brit…

Artists story: The outsider a-n Magazine June 2002 Over the last ten years I have been involved in a series of ambitious publicly sited projects that have been diverse…

Review: Breaking the surface a-n Magazine July 2002 Bridgwater Docks, Somerset 3, 4 and 5 May…

Review: Dancer Roxanne Permar, Four Thousand Flowers, 2003. See ‘A very public affair’ by Jane Watt, a-n Magazine May 2004. a-n Magazine June 2001 Wakefield Museum, Wakefield…

FREE ACCESS: The checklist covers many issues relevant about… Review: Nature Centre: Jenny to small-scale private and public art Brownrigg Introduction: Commissions commissions. It has a series of subject… Feature: Public Posting a-n Magazine December 2000 a-n.co.uk April 2003 a-n Magazine December 2000 Nature Centre is the culmination of artist Artists have been commissioned to make Feature: Battle of Orgreave John Newling discusses the collaboration, and writer Brownrigg's residency at work for individual clients, organisations a-n Magazine September 2001 negotiation and patience involved in Grizedale last year. As well as … and venues for centuries. Now, in the… Contemporary re-enactment, art event or realising a major public art work for… memorial? David Butler gives an insider Review: Pier and Ocean SUBSCRIBER RESOURCES: account of Jeremy Deller's ambitious Art… Feature: Sculpture by the sea a-n Magazine June 2002 a-n Magazine March 2002 Tour: Commissions Feature: Crossing boundaries Valerie Coffin Price reports on the annual South Pier and Claremont Pier, Lowestoft. a-n.co.uk April 2003 a-n Magazine August 2001 'Sculpture by the Sea' in Sydney… Permanent Installation… Artists have been commissioned to make Directors and committee members of The work for individual clients, organisations Landscape and Art Network expand on the Feature: Site sensitive cross-disciplinary nature of the Review: Whistler and venues for centuries. Now, in the… a-n Magazine November 2000 organisation… Mark Beasley explores the common fabric a-n Magazine February 2002 High Street, West Bromwich and Limited Tour: Contemporary gallery practice between today's permanent and Feature: Cywaith Cymru. a-n.co.uk April 2003 temporary public art commissions… Edition CD 23 November - 19 December… Artworks Wales The weight of 60s conceptual practice and a-n Magazine March 2002 its institutional critique colours discussions Angharad Pearce Jones, an artist currently on the benefits the gallery system… working with Cywaith Cymru.Artworks NAVIGATING PLACES Wales explains how the organisation Devised and written by Jane Watt in collaboration with a-n, this series explores Tour: Curatorial organisations works… a-n.co.uk April 2003 and highlights a variety of artists' projects in the public domain touching on the nature of the artists' role and their critical concerns when negotiating making Although public and commercial galleries Feature: Far and wide work in public places. have traditionally been the main vehicle for a-n Magazine October 2001 exhibiting artists' work, the grow… There is a long history of placing contemporary art in remote and rural Feature: Charting a course Feature: Creative learning curves Profile: Dalziel + Scullion locations as a method of encouraging a-n Magazine July 2003 a-n Magazine January 2004 a-n.co.uk November 2004 tourism… The first in a six-part series 'Navigating Jane Watt looks into professional Jane Watt talks to Dalziel + Scullion about places', Jane Watt profiles the River development initiatives available to their practice and their commission for Feature: Mediated journeys Commissions project, a series of artists working in the public domain, in Royal Aberdeen Children's Hospital… a-n Magazine December 2002 temporary… the four… Jose Ferreira introduces us to artists' Profile: Grizedale Arts imaginative use of technology and its Feature: Private musings: public Feature: In memorium projections a-n.co.uk April 2003 relationship to urban space… a-n Magazine March 2004 Grizedale Arts, based in Grizedale Forest a-n Magazine September 2003 Jane Watt discusses contemporary in Cumbria, supports UK and international Jane Watt looks at artists and Feature: No fixed abode approaches to the creation of public artists at all stages of their career… commissioners who are redefining a-n Magazine March 2003 monuments… Now in its third year, Art At The Centre what it means to work in the 'public Profile: PACE enlists artists to work within city-centre region', in the… Feature: A very public affair a-n.co.uk November 2004 developments, Rosemary Shirley… Jane Watt profiles PACE, public art Feature: Back to school a-n Magazine May 2004 commissioning agent for Royal Aberdeen Feature: People and place a-n Magazine November 2003 For the final article in this series Jane Children's Hospital… a-n Magazine November 2001 Jane Watt profiles collaborations Watt asks artists and commissioners Roxane Permar considers a selection of between artists and architects at two about their involvement in current Guide: Commission agreements the projects discussed at a recent newly built schools… innovat… a-n.co.uk April 2003 conference, exploring what they tell us

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