National Contemporary Art Gallery Wales: Preliminary Feasibility Study

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National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal July 2018 Client: Museums, Archives and Libraries Division (MALD), Welsh Government Event Authors: Lucie Branczik and Becky Schutt Revision no: 02 Date: July 2018 Event Communications Ltd India House 45 Curlew Street London SE1 2ND

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The right of Event Communications Ltd to be identified as the author of this work has been asserted in accordance with the Copyright, Designs and Patent Act 1988. Front cover: Laura Ford, Cardiff Contemporary Festival Source: Laura Ford Contents

Executive Summary 7 Appendices 1. Introduction 17 Appendix 1: Consultation List 138 2. Findings and Opportunities 23 Appendix 2: Site Visits 140

Contemporary Art in Wales 25 Appendix 3: Bibliography 142

Supply: Visual and Applied Arts Ecology 30 Appendix 4: List of Figures 144

Demand: Audiences 51 Appendix 5: The Market 147

Key Contexts 61 Appendix 6: Longlist Options 155

Sector Ambition 86 Appendix 7: Vision and Mission Examples 227

3. Purpose and Vision 91 4. The Options 97 5. Recommendations 103 6. Details of the Model 119 7. Recommended Next Steps 131

“In Britain, whenever people come across something new and exciting, but challenging, there is a tendency for them to run for cover, to want what they know and are comfortable with. To design a great new building takes courage on everyone’s part. I think we have a lot more explaining to do.” Zaha Hadid, 1995

Jonathan Glancey, “A monumental spot of local trouble” (The Independent, Jan 1995)

5 Kelly Best, Installation View. Frame (watercolour on paper) and Apex #1 (mild steel) Source: Kelly Best Executive Summary

7 Executive Summary

“The challenge to Welsh institutions and leaders, those with resources and influence, is to pool resources and to change what they do in order to facilitate and support action at the local level. We understand the level of challenge this presents to current ways of thinking. However we also think it is an opportunity which cannot be missed if we want more equal, vibrant and healthy communities.” Baroness Glenys Thornton, Chief Executive, The Young Foundation, 2016

In 1969 the Welsh Arts Council (WAC) Almost fifty years later, Wales today has still no dedicated, populist, national Wales. This report identifies the challenges launched Art and Society, a thematic an active network of visual arts institutions, platform for modern and contemporary art of creating such an institution: the nation’s programme of exhibitions that explored galleries and multi-purpose venues and in Wales. geography and the distribution of its contemporary topics – War (1969), Work a thriving contemporary art practice population (north and south, urban and (1970), Worship (1971) and Sex (1973) – bolstered by its representation at Cymru yn This report has been commissioned by the rural), language and cultural diversity, as through interdisciplinary art exhibitions. Fenis Wales in Venice. The success of the Welsh Government in partnership with Arts well as the requirement not to drain capital Seven years in duration, the programme Artes Mundi Prize, a biennale international Council of Wales and Amgueddfa Cymru to and revenue investment from existing, blurred and widened artistic and social exhibition in Cardiff founded in 2002 by ascertain the potential for a National and successful, cultural institutions and boundaries, embedded culture in public Welsh artist William Wilkins with support Gallery of Contemporary Art Wales. The programmes. The report argues that these discourse, challenged the status quo about from Arts Council of Wales, is study is based on extensive consultation, challenges can be viewed as assets that how and where art should be created and demonstrated by the over 800 entries it and following an options analysis, makes can be built on as the model for a new experienced, and willingly accepted the risk attracted in 2016 from critically acclaimed ambitious recommendations for developing national gallery is explored. of controversy, critique and even failure as artists across 90 countries. There are contemporary art in Wales with a national an element of ambition. Above all, the ever-growing collections of modern and institution sitting at its core. If this is accompanied by a vision that rises scope of the programme was driven by the contemporary art – comprising paintings, above discussions about the intrinsic belief that Wales could become a true, vital drawings, sculpture, photography, crafts, Underlying the recurrent desire for a and instrumental value of the arts, and relevant home of contemporary art, installations and mixed-media works – held National Gallery of Contemporary Art the result could be a National Gallery one that replaced the increasingly obsolete, within the Amgueddfa Cymru – National Wales is a sense that, while there are of Contemporary Art which is genuinely aristocratic, elitist model of culture with one Museum Wales and National Library of pockets of excellence, Wales lacks a focal of and for Wales. Its principles would defined by inclusivity. 1 Wales, among other organisations. point for contemporary visual artists and involve creating sustainable and resilient Welsh and international audiences. Many networks at all levels of the arts ecology. Yet if much of the spirit of the WAC’s 1969 feel that a new institution could represent It would aim to make Welsh contemporary programme has been realised, there is one the country on the global stage. However, art iconic, along with the landscapes, 1 Ken Baynes, The Art and Society Project of the Welsh Arts notable absence. Almost fifty years after there is a sense that the standard iconic people and culture that inspire it. It requires Council, Leonardo, Vol. 6, (Pergamon Press, 1973) 97-102; Huw public sector priming investment, but has David Jones, Redefining Art and Culture: The Welsh Arts that ground-breaking programme there is building often parachuted into a city is not Council’s ‘Art and Society’ Exhibition Series 1969–76, Visual the only, or indeed the best, answer for the potential to generate new business Culture in Britain, Volume 15, 2014, Issue 1, 28-49

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 8 July 2018 Executive Summary

models which will help increase the total house a National Centre for Contemporary What change do we want and need for trail-blazed by artists and curators at resources available. Art in a white box space in Newport Wales? What will make a difference to Wales’ national, regional and hyper-local Riverside or Swansea – was taken forward. 2 communities, to artists and to the existing visual arts organisations. Additionally, a new gallery would nurture visual arts infrastructure? What is the new, artists throughout their career spans and It is within this context, that the bespoke or ideal model for Wales? How will St Fagans National Museum of History, participants and audiences throughout commitment to a Feasibility Study has been it bolster or catalyse what we have? And for example, has already developed an their lives. The aim would be to embed the made by the Welsh Government via a can we achieve that through a national innovative and internationally recognised arts in education, health, the creative 2017-18 budget allocation. This sends an contemporary arts entity? model of cultural democracy, which the industries and the tourist economy, important signal that the idea of a new Paul Hamlyn Foundation describes as a ensuring it plays an inspirational role at National Contemporary Art Gallery Wales Findings beacon for the UK’s museum and gallery every stage of people’s lives. By building on should be constructively developed and Event’s sector-wide consultations, site sector. Over 200 community and third existing assets, and leapfrogging current vetted, and could be well positioned to play visits, research, and visioning and options sector organisations across Wales – paradigms about gallery building, Wales a role in helping to create ‘The Wales We workshops, highlighted: including homeless organisations like could become a world leader in creative Want’ (Wales 2050 Future). The Wallich and Llamau and charities such citizenship, addressing both its highest Art and Artistic Practice in Wales as Drugaid Wales – have worked with cultural ambitions and its commitment to a This Preliminary Feasibility Study and Contemporary art in Wales is noted for its the museum to create volunteering more sustainable, just and inclusive society. Options Appraisal is thus designed to focus on Welsh landscape and language, opportunities, design new buildings, explore bold questions about the nature, and while contemporary visual arts practice co-create galleries and work onsite with Background needs and opportunities presented by in Wales is diverse, many artists across museum staff. Contemporary artists and In 2008 a feasibility study for a National contemporary visual and applied arts, while many media remain deeply inspired by and designers have made a major contribution Gallery of Art for Wales and an options rooting any answers in the reality of the connected to their physical environment. to the £30m project, including the study for a National Centre for lives of the public, the artists, and Wales’ developing a new children’s play area. Contemporary Art were undertaken, yet cultural organisations. What does the nation Forward-thinking practices in collaboration neither of the Studies’ recommendations need from contemporary arts and artists? and audience engagement, including a While this Study focuses on visual and – to house the National Gallery of Art in a re-thinking of curatorial authority and applied arts, the National Theatre Wales’ reconfigured Cathays Park site; and to 2 ABL Consulting, The Future Display of Visual Art in Wales co-creative programming, are being pioneering approach to embedding and (2008)

9 Executive Summary

co-creating theatre with communities is a Networks and Partnerships Creative Education with attracting commercial galleries and world-class benchmark also located at Visual arts partnerships in Wales take the With pioneering creative education emerging talent from outside of Wales. home. Celebrating its tenth anniversary form of skills and knowledge exchange, programmes being rolled out nationwide in This should go in tandem with supporting next year, the National Theatre Wales’ collections sharing and some co-curation. Welsh schools and galleries, the top-down an enabling environment to retain mid- model, learning, values and successes are However, there is wide recognition from the commitment to the STEAM subjects career and established artists. key to unlocking a new way forward for sector that these partnerships could be coupled with ground-up local expertise visual art in Wales. Crucially the more strategic, more proactive, and positions Wales at the forefront of an Demand organisation embraces multiple artistic potentially scaled and leveraged. They holistic education offer for children and Audiences mediums under the category of theatre; could include joint-research, advocacy, young people. By igniting and fostering Research undertaken by the Arts Council treats the nation as its stage; and is actively joint-funding bids and exhibition exchange. creativity in this generation now, Wales is of Wales shows that there was high committed to decentralised ownership of paving the way for innovative, expressive, attendance (1,103,436) at participatory arts the national entity. National and International Profile resilient citizens who are vital to the vibrant sessions over 2015-16 compared with the The visual arts sector has an ambition to health of communities and an inclusive and other art forms and that young people Supply build its national and international profile, creative economy. 3 (aged 16-34) are the most likely to visit an Visual and Applied Arts Ecology in Wales and to ensure there is healthy and ongoing art gallery. However there are potential, The Welsh visual and applied arts ecology dialogue across the nation’s borders. Such Artists Professional Cycle untapped audiences for the visual arts, is diverse and evolving, and comprises well-regarded platforms as Cymru yn Fenis Welsh art schools and universities are the with only 18% of the population having publicly-funded, commercial and grass Wales in Venice, Artes Mundi and next obvious port of call for nurturing the visited an art gallery in the most recent roots art organisations. The sector in Wales organisations including the British Council creative talent pipeline. Yet while they analysis of post-code data. 4 There is a lack is tightly-knit and historically bound by the actively seek to broker international demonstrate pockets of excellence, they of analysis about cross-venue patterns in geography of the country, with two-thirds dialogue and partnerships. Yet this do not currently rank in the top 50 art current audience behaviour, the profile of of the population based in South Wales. ambition is tempered by limitations, schools globally, or in the top ten in the UK. untapped audiences, and the motivations, The sector is in part characterised by a including a lack of staff capacity and Artists graduating into the art scene are behaviours and barriers in and to small pool of passionate, professional resource; insufficient exhibition space well supported by the existing visual arts experiencing contemporary art. curatorial staff, but also by limited funding precluding organisations from being active infrastructure, but many emerging artists Significantly, cultural tourists are not opportunities. participants on the international touring then leave Wales by mid-career and few currently targeted in Wales’ tourist circuit, both importing and exporting established artists return. The health of the positioning, with Wales’ existing cultural While there is no dedicated National contemporary exhibitions; a lack of sector- overall visual arts ecosystem is interlinked assets being notably absent from The Contemporary Art Gallery in Wales, wide advocacy or strategic relationships Wales Way, VisitWales’ newly launched it is imperative that any new entity with the national press; and tourism 3 Inclusive growth means economic growth that enables as tourism campaign. complements and builds on Wales’ material that does not overtly position the many people as possible to contribute and benefit from growth. These benefits are both social (benefiting people across the existing assets and resource rather than arts as a key driver to Wales. labour market spectrum, including groups that face particularly destabilising or disregarding what exists. high barriers to high-quality employment) and place-based (addressing inequalities in opportunities between different parts of the country and within economic geographies). Royal Society for the Encouragement of Arts, Manufactures and Commerce. https://www.thersa.org/ 4 Audience Agency

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 10 July 2018 Executive Summary

Key Contexts skills; collaborative interdisciplinary working; Council of Wales has distributed £19.88m not least a failure and/or an inability to The Economic Case for Investment in entrepreneurialism; and enterprise.” 8 in Lottery Funded capital grants since diversify. Consultations revealed a sector- Culture and Creativity 2008; 9% has been for visual arts projects. wide concern that any new national entrant, The economic case for investment in Creative industry clusters are being While these figures are notable given the requiring both major capital and ongoing culture and creativity is powerful and developed as a sound strategy for 3.1m population of Wales, they fall short revenue support might at best destabilise globally recognised. The visual arts sector bolstering the sector and encouraging when compared to other nations. In April and at worst destroy the existing publicly is embedded within the wider creative growth outside of London. The Creative 2018, for example, Ireland publicly funded ecology. The currently unstable industries, which generate £8.254m in Industries Cluster Programme is investing committed to investing €1.2bn in culture, tripod economy (comprising contributed, Wales per annum 5 (as a measure of the £80m in eight creative research and heritage and language over the next ten earned and public income sources), with value of goods and services produced) and development partnerships across Britain years, with €725m dedicated to cultural co-opetition (i.e. collaborators who must are growing at a rate of 11%, twice as fast and for which Clwstwr Creadigol / Cardiff institutions, ensuring a regional balance, sometimes compete, and vice versa) as other industry sectors in the UK. The UK University is one of 22 shortlisted entries digitisation of the national collections, between Welsh arts organisations and creative industries exported £14.7bn worth as of February 2018. media production and Galway European unaligned planning and funding cycles, of goods in 2015, and their highest export City of Culture. Standalone arts facilities means that there is a necessity to explore sub-sector included the visual arts. 6 Leadership and Advocacy announced or near completion include V&A other sources of income beyond the Welsh leaders and current government Dundee (£80m project designed by Kengo traditional categories. These could include The sector’s jobs are outperforming policies recognise this economic Kuma), 9 Courtauld Institute (£50m project building an endowment, initiating crowd- employment growth in other sectors, and contribution, and the benefits of nurturing designed by Witherford Watson Mann) and funding, venture philanthropy, patient creative jobs are highly skilled and highly and retaining a creative workforce from Factory in Manchester (£110m designed by capital, loan agreements, R&D, and/or resistant to automation. 7 As Peter an economic, social, and reputational OMA/Rem Koolhaas). 10 bespoke, integrated corporate sponsorship Bazalgette’s Independent Review of the perspective. However, political recognition packages. Indeed, there is an opportunity Creative Industries emphasised in 2017, of the power of the arts and creative Business Model for any national entity of contemporary art industries is not resulting in comparably Austerity and more recently the vote to to serve as a leader in helping the sector “The skills...of this sector...are those which scaled public investment in Wales’ visual leave the EU have exacerbated financial reconfigure its business model, including, many experts judge to be of increasing arts sector. An acknowledged lack of challenges for the public sector 11 and the for example, the provision of direct access importance: blended technical and creative coordinated advocacy from visual arts business model behind the visual arts to expert staff working at national level. leaders and artists does not help the case ecosystem in Wales has vulnerabilities,

for support. 9 £63.8m of funding from Scottish government including The Social Case for Investment 5 Constrained regional gross value added (GVA) estimates £22m from Growth Accelerator Model Fund for the wider £1bn Moreover the growth of Impact Investment, (Office of National Statistics, 22 March 2017). The GVA of waterfront regeneration project; £13.9m from the Heritage Creative Industries in England was £82,158m, in Wales was Capital Investment Lottery Fund; £6.6m from private fundraising; £6.5m Council which allies financial return with the £825m, in Scotland was £3,397m and in Northern Ireland was Wales’ capital investment in the visual arts capital budget allocation. V&A at Dundee price tag almost intention to generate positive social or £970m doubles to £80m (BBC News, 16 January 2018) 6 In addition to Music, and performing arts, Crafts; and, over the last 10 years has been £35.3m 10 UK government committed £78m in 2014; Manchester City environmental change, currently accounts Publishing, DCMS Statistics Focus on Creative Industries 2016, (detailed in Figure 16, page 68). Arts Council contributing the remaining funds. The project is also set for at least £150bn of committed capital in Table 2 (Department for Digital, Culture, Media and Sport, 2016) to benefit from government funding of £9m a year from 2018/19 7 Hasan Bakhshi, Carl Benedikt Frey, Michael Osborne, 11 Dr Simon Thurley CBE, Review of Amgueddfa Cymru – Creativity vs. Robots: The Creative Economy and the Future of 8 Sir Peter Bazalgette, Independent Review of the Creative National Museum Wales, Executive Summary, (Welsh Employment (Nesta, October 2015) Industries (September 2017) Government, June 2017)

11 Executive Summary

impact investments in the UK alone. 12 Sector Ambition around the world (São Paulo, Vilnius, Tokyo, with established visual arts entities This is underscored by the existence of Finally, reverberations from decades-old Hong Kong, Soho (1992-2001), Berlin embracing an intermediary and incubator a diverse ecosystem of specialist attempts to build a visual arts national (1997-2012), Las Vegas (2001- 2008), status for the creative sector, have also intermediaries in Impact Investment and gallery remain in the discourse. Many Salzburg (Austria), Guadalajara (Mexico), been making their mark (and strengthening the establishment of GSG in 2015 as the recognise any new national gallery as high and Helsinki (2012; 2016). Wales entered their networks) outside of national successor to the Social Impact Investment risk and most had questions about who the into very early conversations with the institutions in examples like Strelka Taskforce, established by G8 two years ultimate decision maker would be for Guggenheim Foundation at the time of (Moscow), Somerset House and Snape prior. 13 determining if and how recommendations Helsinki’s international architectural Maltings, to name but a few. herewith are pursued. Despite the competition. 15 The UK Department of Culture, Media and reservations, however, there emerged a For the purposes of this study, and in the Sport has identified significant latent powerful and widely-felt ambition and This franchise model has continued to be context of the opportunities particular to capital from both retail and institutional enthusiasm for a new model for the display pursued alongside the Overseas Wales, twelve options for a new National investors currently readily available to of contemporary art in Wales. As one Partnership Model (for example, the British Gallery of Contemporary Art Wales were support future growth and the UK National professor commented, Museum providing strategic and developed, explored and designed Advisory Board has quantified this, programmatic support to Sheikh Zayed iteratively with the Steering Committee suggesting that over the next decade in the “I have to say – the conversation goes round National Museum in Abu Dhabi) and is and working groups. These were vetted region of £300bn could be channelled into in circles.... this notion of a distributed counterbalanced by more subdued, but according to detailed criteria and Impact Investments that are helping to gallery or a beautifully constructed arc in equally strategic distributed approaches to weighting, with the seven broad categories directly address critical social and one of the major cities. Can we finally make sharing and exhibiting national collections being: environmental challenges. 14 a decision?” of modern and contemporary art (for example, The Plus Tate network of 35 UK 1. Assessing the option’s fit with the vision The visual arts sector in Wales has not to Options visual arts organisations, and separately and values of key stakeholders; date strategically positioned itself within 21st-century public art galleries have Tate’s visual arts family of four – Tate 2. Audience access, particularly for the Impact Investment space explicitly, embraced a considerable range of new Britain, Tate Modern, Tate Liverpool and under-represented communities; despite carrying out socially valuable physical and strategic models in order to Tate St Ives). Elsewhere, physical footprints 3. Financial viability; activities. realise their programmatic, curatorial, have been extended to meet the evolving 4. Market viability; social ambitions and, more sobering, a needs of artists, curators and the public, 5. Timeframe; balanced spreadsheet. Perhaps the most with extensions and outposts both within 6. Environmental sustainability and; high-profile approach was pioneered by the and outside the home town opening their 7. Residual risk after mitigation. Guggenheim in the Basque region in the majestic doors (V&A East and V&A Dundee; 12 Growing a Culture of Social Impact Investing in the UK, early 1990s, and announced in 2008 and in The National Gallery of Ireland, IMMA A locations analysis was agreed to be Government Department of Culture, Media and Sport, November 2017, HM Treasury, Tracey Crouch MP, and Stephen development today is Guggenheim Abu Dublin; Louvre Lens). Co-located models, pre-emptive, with the need to ensure the Barclay MP Dhabi on Saadiyat Island in the United Arab concept and model development stage was 13 Ibid 15 The Guggenheim Foundation was quick to quash 14 UK NAB, The Rise of Impact: Five steps towards an Emirates. There were notable attempts (but speculation that a Welsh Guggenheim had any traction. Adam robust. As one artist stated, inclusive and sustainable economy, UK National Advisory Board not always successes) to replicate this plan Price, Why a Welsh Guggenheim makes sense (The Guardian, “I don’t mind where it is so long as it is.” on Impact Investing (Oct 2017) 10 Jun 2013)

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 12 July 2018 Executive Summary

The twelve options are building-based and the Amgueddfa Cymru Family, rather than contemporary living artworks set in the Phase one: The National Canvas building-less options, single and multiple have the opportunity to leverage the landscape and among communities that The Gallery will commission 50 new sites, existing and new, and/or a service or Amgueddfa Cymru’s extensive collections, are developed with creative producers, artworks installed across the five regions partnership agreement. They models are: expertise, resources and network. This is artists and communities across the nation. of Wales, co-developed by audiences, the Sharing Contemporary Arts not to say that the new entity could not existing visual arts organisations, Partnership; Charm Bracelet; Visual Arts have a refreshing and powerful identity of The recommendations approach the idea community organisations, curators and Family; Network Members Club; National its own; this remains a core ambition. of a national gallery in an innovative way: artists, and defined by 6-8 geographical Canvas; Circus; Extension; Outpost in the by devolving funding the Gallery aims to clusters. Emerging, mid-career, and Capital; Outpost Outside the Capital; Hive/ Event undertook an independent review of share the nation’s art with the people of established Welsh and international artists, Co-Location; Merger; and Do Nothing – the options, and based on this Options Wales, bolster and connect existing visual in partnership with communities and with an emphasis on understanding what Appraisal, puts forward its arts assets and resources, and further curators and producers will be the core the positive and negative reverberations of recommendations. cultivate creative clusters. The Gallery will creative engine charged with considering abandoning the idea now might be. encourage artists to create within non- how best to integrate landscape (rural and Recommendations traditional and traditional spaces, and urban), art and ideas. The co-creation While the long-list of twelve options was “Wales can and should put itself on the map! deploy the landscape itself as the medium, approach builds upon the existing work of thorough, it notably and with ample It can start from scratch in 21st century and the canvas and a gallery. cultural organisations, including that of consideration, did not, in the end, include be really, really fresh.” Museum Director Amgueddfa Cymru and National Theatre the Franchise Model, the Overseas Recommendation one: This will be a Wales, who have actively cultivated a Partnership Model or a Standalone Model The proposed National Contemporary Art progressive, evolving and scalable network of ambassadors across the nation. (i.e. an independent institution from Gallery Wales is a world-first. It showcases strategy that collectively is the National Amgueddfa Cymru). Wales’ stunning environment, wraps rural Contemporary Art Gallery Wales. Rather than parachuting in large-scale, and urban communities into a conversation This should be accompanied by the permanent sculpture, the Gallery will For the first two models, we returned to the through art, and demonstrates a bold, immediate roll-out of a set of pilot projects embolden artists and communities to ambition – a National Contemporary Art lasting and internationally eye-catching to be delivered in parallel. These will be co-create high-quality works of art. Gallery that is authentically of and for the commitment to nurturing and showcasing designed to test and refine the concept Creative producers, artists and curators, people of Wales – with the recognition that human creativity. and to spark interest and build momentum working in tandem with communities, will Wales today has the assets and approach around the development of a National be commissioned to create new artworks to establish its own, if it so chooses. Rather than endorsing a single new building Contemporary Art Gallery for Wales. by exploring how creativity, landscape and to house and display contemporary art, public spaces can intersect. Ultimately The Standalone Model was discounted we recommend a dynamic, distributed The Gallery comprises three interlinked Wales continues to set its own high- as our view, shared with the Steering national model that builds on 6-8 existing phases: standard, and possibly a new standard, for Committee, was informed by the linkage and developing arts locations across contemporary art, and challenge how we in governance to Amgueddfa Cymru and Wales, along with a permanent central hub. see, work, communicate, play in and the consideration that a new national This distributed model is heralded by a experience our surroundings. Two standalone site would compete with series of newly commissioned successful examples are Nils Norman’s

13 Executive Summary

sensory playground, Yr Iard, St Fagans and They will be further distinguished by Centre (£106m), Etihad Museum (£120m) recommended below, would be in the Trebanog, and Owen Griffiths’ Vetch Veg the construction of site-specific, semi- and Tate Modern extension (£260m). region of £2.7m per annum minimum. Project, Swansea. Elsewhere in the UK, permanent extensions, refurbished In addition, these capital costs can be The Abandon Normal Devices (peripatetic galleries or the building of a neighbouring phased over longer periods. The annual operating expenditure of a festival) and Journeys with ‘The Wasteland’ structure. They will collectively showcase physical national headquarters (Phase artist-community collaborative projects the nation’s growing collection of For the delivery of Phases one and two, Three) could range anywhere from £2.5m across Margate are two, of many, examples contemporary art and have the physical we recommend a national shared resource and up (e.g. £15m), depending on the scale where place is the inspiration and the capacity and additional staffing and model with a centralised hub. The hub need of the operation, the physical site, and how community is the creative engine. financial resource to display large-scale not be physically located in any specific the team and programme is designed to international touring exhibitions. gallery and would be designed to ensure interrelate with The National Canvas and Phase two: The Distributed Gallery partner venues and communities benefit The Distributed Gallery. The next stage of The National Contemporary Art Gallery Phase three: The HQ from increased capacity, expertise and the Feasibility Study requires extensive Wales will also be defined by a distributed The final interlinked phase will be the facilitated national dialogue and planning. business planning, based on modelling set of 6-8 galleries across the nation. building of a National Contemporary Art a number of scenarios (for example, Gallery Wales headquarters, a permanent, This hub would be defined by a assumed programme, defined sqm, Interested partners will be encouraged sustainable and unifying space serving as a collaborative leadership team who would projected visit numbers, days open, to join a scoping and advocacy phase, porous and vibrant platform for regularly float between venues and sites. location(s), etc.). including engagement with the Boards contemporary art. This hub will enable The team would be charged with co- and Governance structures to explore how Welsh citizens and tourists to experience developing and positioning the full National The proposed indicative annual operating the distributed model could be realised immersive, world-class, new art created by Contemporary Art Gallery Wales, defined expenditure for the national entity is effectively. The identities of individual living artists in Wales and abroad by as The National Canvas, The Distributed significantly higher than the average annual organisations should remain strong, yet the actively brokering relationships with a Gallery and the HQ. The leadership team operating expenditure of most visual arts ambition should be to create a national, global network of creators and the partner would build the case for support, organisations in Wales. (For example, the decentralised, greater whole. Ultimately sites across Wales. and co-plan exhibition and collections ten Visual and Applied Arts Portfolio clients we suggest that the 6-8 partners be development and conservation, educational have an average annual operating budget selected via an open application process, Preliminary costings suggest the capital and health programme development, of £490k, and these are most of the larger encouraging cross-sector and spend to deliver all three phases will be in fundraising, marketing, stakeholder organisations in the visual arts ecosystem). interdisciplinary teams to make the the range of £50m to £180m. For purposes engagement, advocacy, national and case for their venue and community. of context, these estimates – which deliver international profiling, and impact Arts Council of Wales’ total annual a contemporary art offer across the nation assessment. allocation to visual and applied arts (£1.7m While maintaining their core identity, – are in the same cost range as stand- revenue funding; 16 £520k project funding) programmatic remit and approach and alone cultural institutions built or in The indicative annual operating costs for is less than what is proposed here. physical footprint, the organisations that development such as the Hepworth (£35m), the centralised organisation co-developing However the operating expenditure become part of this National Contemporary V&A Exhibition Road extension (£48m), and delivering Phases one and two, and Art Gallery Wales will be branded as such. Design Museum (£83m), Wales Millennium establishing a Fellowship programme 16 Arts Council of Wales, Visual Arts Funding for Selected APWs

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 14 July 2018 Executive Summary

proposed (£2.7m for Phases one and two) patrons, board members and investors to co-designed, and depending on the topic, contemporary art must be defined by includes financial resource that will be design their version of a relevant national participants should be leading and revenue opportunities that benefit the shared across The Distributed Gallery (i.e. contemporary art gallery. It is worth noting emerging artists, curators, gallery directors, wider sector. 6-8 partner sites) and The National Canvas. that younger investors and millennials are teachers, young people, and community also key constituents and emerging activists. Representatives from the health, Recommendation seven: The Recommendation two: An Advisory Panel champions of the social impact movement. 17 tourism and transport sectors, private establishment of a Contemporary Creativity is established to develop and drive the developers and the private sector should Endowment Fund is explored as an option vision, concept and models forward. It is Amgueddfa Cymru has seven youth forums, also be engaged in this period, alongside for providing ongoing revenue support recommended that panel members include one for each museum across Wales, and it enthusiastic world experts from a range of designed to empower the current and next experts from both in and outside Wales, is their plan to develop these to have a role disciplines. The Workshops will be generations of Welsh creative citizens. including those from the other Home in policy making and project development. designed to ensure that the detail of the The Endowment Fund should be designed Nations, as well as Visit Wales, MALD, The youth forum at the National Museum three phases is robust, ambitious, practical to support the alignment of the national representatives of Visual Arts Galleries Cardiff will install an intervention in the and realisable. The Concept Workshops contemporary art programme with the Wales (VAGW) and Welsh Local natural sciences galleries this year on the could culminate in a high-profile nation’s priorities, including health, Government Association (WLGA), investors issue of plastic in the seas. symposium, a 2-3 day event, bringing education, inclusion and economic growth. and influencers. The new entity will have a together the participants from throughout Investors in the Fund, including the Welsh high-profile steering committee with Additionally, Arts Council of Wales has this stage to showcase and discuss their Government, should believe that enjoying, strategic decision making authority; already committed to establishing an final recommendations. being challenged by, and creating art needs representatives of the Amgueddfa Cymru interconnected Youth Board as part of its to be embedded in the everyday lives of and Arts Council of Wales will serve on this operational plan (inspired, in part, by the Recommendation five: The Advisory Panel Welsh citizens. Committee. The Advisory Panel will have a experiences of The Roundhouse’s (see recruits and appoints a remarkable, formal relationship with Amgueddfa Florence Wilkinson, Roundhouse, Guided accomplished director to develop and drive The Endowment Fund could support the Cymru’s Board of Trustees. by Young Voices). It is recommended that the Gallery forward. central organisation body, the creative these Boards work in parallel, if not under clusters and a suite of fellowships and Recommendation three: In tandem, a the same umbrella. Recommendation six: A Fundraising awards for nurturing creative talent, National Youth Cultural Advisory Board is Feasibility Study is critical if a National thought leadership and ideas identified in established, comprising people across Recommendation four: The Advisory Contemporary Art Gallery Wales is to be Wales and internationally. The Endowment Wales, aged 9-26 invited through an Panel and Youth Cultural Advisory Board pursued in a subsequent stage. This is to would require the unlocking of new funding open-call. The National Youth Cultural oversee the development and delivery of a ensure ongoing support is a realistic and investment sources. Its success is Advisory Board will co-develop and help series of collaborative Concept Workshops prospect, to explore how a national dependent on a sophisticated fundraising shape the delivery plan for the national to explore, further design and strengthen operating model will impact (positively and campaign driven by champions well-placed contemporary art entity. The Youth the three phases in the imminent future. negatively) existing funding streams to enthusiastically re-frame the culture of Advisory Board demonstrates a clear The agendas for these Workshops will be designated for visual arts in Wales, and to giving – to one about investing in Wales’ commitment to empowering the next unlock new funding streams. The income creative engine and beauty. generation of artists, creative thinkers, 17 ‘Pro-business, but expecting more.’ (The Deloitte Millennial model for a new national entity of Survey, 2017)

15 Executive Summary

Recommendation eight: A Cultural There is potential to ensure that Feasibility Study is used efficiently to move Professional Fellowship will provide organisations are empowered to the National Contemporary Art Gallery opportunities for Welsh emerging and collectively undertake sector-wide Wales forward. The pilot projects should be established cultural professionals to work research that can be directly applied to shaped as action research – enabling the across the ecosystem. The Fellowship will making informed programming, marketing, team to test different ways to convene and welcome applicants from curatorial positioning and business planning empower audiences, explore ideas for backgrounds as well as those of other decisions at both national and local levels. contemporary art projects and provide disciplines, whose expertise is essential to A comprehensive training and research opportunities for collaborative working. a thriving arts and wider creative industries programme would provide an important Learning from these projects should be sector. This includes experience in legacy for the visual arts community. shared widely (for example, in publications, education, marketing, business planning, part of a symposium, facilitated law, policy, operations, technology, data Recommendation ten: The culture and discussions) and applied to the next set of science, design, retail, catering, human tourism sectors take steps to align their National Canvas projects. resources, fundraising and events strategies and work more closely together management. to:

Recommendation nine: Sector-wide • build on the existing tourism market in audience research should be delivered Wales; alongside Phases one and two to quantify • embed visual arts into the existing the demand for any new entrant into the tourism campaign, The Wales Way; visual arts sector. It is essential that there is • provide an experience distinctive to a more sophisticated understanding of the Wales that cannot be found elsewhere; existing and potential market for • deliver a combination of indoor and contemporary visual arts venues, outdoor arts attractions that are closely experiences and attractions in Wales, along linked to the different Welsh communities with the relationship between these and sense of place to meet the venues. It is also important that motivations expectations of international holiday and behaviours for attending are makers. understood; that barriers to access are clearly identified; and that patterns across Recommendation eleven: The Advisory James Richards, Migratory Motor Complex, time and geography are tracked and Board develops and delivers a series of six-channel audio, computer, modular leveraged. pilot collaborative projects – part of the 50 seating system, 2017. works in The National Canvas – in the Source: courtesy the artist and Chapter; immediate term. These projects will ensure Cymru yn Fenis Wales in Venice project investment already ring fenced for the Photos Mark Blower National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 16 July 2018 1. Introduction Introduction

“Modern art museums have been asked to fulfil three different roles: magnet of urban redevelopment, symbol of national prestige, and energizer of human capital in terms of creativity and innovation.” Sharon Zunkin

“Every struggling post-industrial city has the Building upon Light Springs through the art, and their cultural, societal and infrastructure projects, supplementing same idea: hire a star architect (like Frank Dark: A Vision for Culture in Wales – Welsh economic benefits. The ABL study also the Arts Council’s drive to create a spread Gehry) to design a branch of a famous Government, (December 2016), the Study’s recommended a second National of 21st-century spaces around Wales. museum (like the Guggenheim), and watch three stakeholders had identified a gap in Contemporary Gallery – essentially a white A decade on from the 2008 Report, your city blossom with culture. After all, it the current provision for the display of box space to house temporary exhibitions. National Assembly Wales collectively worked for Bilbao ... didn’t it?” Chris Michael, modern and contemporary art. The Welsh recognised that a new Feasibility Study The Guardian 18 Government has previously commissioned Neither the concept nor the accompanying offers an opportunity to review the existing a study, delivered in 2008, on two related options appraisal were carried forward, but ecosystem and infrastructure for the visual Background concepts: The Future Display of Visual Art the studies did provide a case for additional arts in Wales and assess potential In November 2017, experience design in Wales, headed by ABL Consulting, funding which informed the Welsh constraints on any future development. and consultancy agency, Event, was assessed the need for a National Gallery, Government’s £6m investment in the West commissioned by the Museums, Archives which would offer extended display and Wing at National Museum Cardiff. Today National Assembly Wales also identified and Libraries Division (MALD) of the Welsh ancillary space in an expanded and the West Wing is dedicated to the display the critical need to define an ambition and Government, in partnership with the developed Cathays Park site at National of temporary displays of modern and core purpose for a national institution Amgueddfa Cymru and Arts Council of Museum Cardiff, and a parallel but separate contemporary art from the Amgueddfa of contemporary art. While Amgueddfa Wales to assess the feasibility of and new National Centre for Contemporary Art, Cymru’s collections and loans from other Cymru holds the national collection of potential models for a National which would show contemporary art from institutions (such as recently War’s Hell: contemporary art, of the four neighbouring Contemporary Art Gallery for Wales. Wales, art of international stature from The Battle of Mametz Wood in Art and nations, three have more significant The Study required the development of elsewhere, and temporary exhibition work. Silent Explosion: Ivor Davies and dedicated facilities for showcasing modern a guiding rationale and vision for a new Destruction in Art) as well as externally and contemporary art (Figure 1). national entity, and the subsequent The ambition was to create a building of generated exhibitions (such as the Biennale development and assessment of a set comparable quality to similar national exhibition and prize, Artes Mundi, founded of options best positioned to deliver institutions elsewhere in Europe. The Study by William Wilkins in 2002). that vision. reviewed and built on preceding reviews of

18 Chris Michael, The Bilbao Effect: is ‘starchitecture’ all it’s the gallery facilities of Wales, the demand The 2008 Report gave impetus and added cracked up to be? A history of cities in 50 buildings, day 27 for 21st-century facilities for the display of financial support to contemporary gallery (The Guardian, 30 Apr 2015)

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 18 July 2018 Introduction

Arts Organisation Total Site Total Internal Exhibition Space Ancillary spaces Floor Area Tate Modern, England 3.43 hectares 34,500sqm 7,827sqm gallery suites 240 seat auditorium, two cafés to seat 240 3,300sqm Turbine Hall and to seat 170 plus 30 in the bar area; 1,300sqm special exhibition suite three shops; an education area; a Members Room, offices, handling area Switch House Extension, Tate Included in 23,000sqm 7,000sqm of exhibition space 1,567sqm of learning space Modern, England the above dedicated to display cutting-edge contemporary work from across the world and more of the Tate’s Collection; two new ‘oil tanks’ performance areas

Scottish National Gallery of 4.8 hectares Unavailable Modern One: 776.51sqm exhibition 2 cafes and sun terrace, 2 shops, Paolozzi Modern Art, Scotland spaces Studio, reading room, library, print and Modern Two: 495.89sqm exhibition drawings study room spaces

IMMA, Dublin 10.52 Unavailable Unavailable Cafe, shop, lecture room, Johnston Suite, hectares project spaces, courtyard, garden galleries

Figure 1: Dedicated national facilities for modern and contemporary art Source: Event, April 2018

19 Introduction

Brief At this stage, the Study excludes a concept and to build a viable operating/ 4. Proposed a set of recommendations Event was charged with identifying a viable Locations and Site Analysis and business model; for a viable model for a National model for a new National Contemporary Fundraising Study, with the expectation • Identified the type of sector-wide Contemporary Art Gallery for Wales, Art Gallery Wales that aligns with the that a subsequent phase would deliver audience data that should be collected, presented in Chapter 5 and a set of requirements and ambitions of the visual a comprehensive Feasibility Study. analysed and applied regularly moving recommended next steps. arts sector in Wales. This included the forward; need to assess the: Methodology • Mapped the publicly funded visual arts Assumptions and Definitions Event’s approach and methodology was galleries in Wales in relation to the wider For the purpose of this study a number of • Appetite for a national entity; designed to collaboratively establish a case contemporary art ecosystem; parameters were agreed with the Steering • Current visual arts ecosystem in Wales; and identify a model for a National • Researched UK and international Committee. These are as follows: • Current needs and ambitions of individual Contemporary Art Gallery Wales that benchmarks in terms of positioning, visual arts organisations, artists and art celebrates and responds to the needs of capital and operating costs, models for Governance/Ownership schools; 21st century art, artists and audiences. To curatorial and educational practice, and • The new entity is in the family of • Policy landscape; deliver the feasibility study and options governance. Amgueddfa Cymru and is governed by • Profile, needs and motivations of existing appraisal Event: the Amgueddfa Cymru Board of Trustees; and potential audiences; 2. Developed the national entity’s • The new entity will have a high-profile • Key stakeholders and their role(s); 1. Undertook a contextual analysis: purpose and function steering committee with strategic • UK and international benchmarks in • Consulted 98 stakeholders and members decision making authority; programming, infrastructure and of the visual arts sector, including artists, 3. Undertook an options appraisal: representatives of the Amgueddfa Cymru positioning. arts and cultural organisations, • Developed a long-list of twelve options and Arts Council of Wales will serve on universities/art schools, funders, national that could be structured to deliver this this Committee; The Study was originally envisaged as a institutions, local authorities and the vision (Appendix 6); • Committee members may serve on the Feasibility Study, but the Steering government (Appendix 1); • Developed a set of weighted criteria in Board of Trustees; Committee recognised the importance of • Visited 30 galleries and universities order to assess each option and to • The Committee will have a formal first developing a concept rationale for the across Wales and 7 outside Wales identify the preferred model; relationship to Amgueddfa Cymru’s National Contemporary Art Gallery Wales (Appendix 2); • Developed a dynamic scoring sheet that Board of Trustees; and a viable supporting structural model for • Facilitated workshops with Visual Arts enabled the Steering Committee to score • The new entity will require an delivery. Galleries Wales (VAGW), and the different models to assess their appointment of a high profile senior representatives of the Amgueddfa Cymru viability and ambition; director reporting directly to the As such an Options Appraisal was Youth Forum and other key stakeholders; • Undertook an independent options Amgueddfa Cymru Director General. undertaken, developing and assessing • Reviewed policy and research papers appraisal based upon the agreed options that would be best placed to (Appendix 3); weighting and criteria of the Steering achieve the ambition identified for the • Examined available audience data for Committee. National Contemporary Art Gallery Wales. Wales to assess the existing and potential audiences, both to inform the

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 20 July 2018 Introduction

Consultation workshops with Visual Arts Galleries Wales (VAGW) members in Cardiff and Newtown, Wales Source: Event, January 2018 1. 2. 3. 4. Current Visioning Options Preferred State Analysis Positioning Development Option Parameters Appraisal

Figure 2: Event’s Methodology

21 Introduction

Arts Council of Wales-Amgueddfa Cymru • Any new proposed Gallery must meet UK in the document; detail of the long-list Davies) were involved in a number of Strategic Partnership Museum Accreditation standards. of options, as well as further information workshops and were kept informed • There is an opportunity for a formalised of the market and example visions and throughout the Study’s duration. strategic partnership between Arts Financial Projections missions from other national and regional Council of Wales and Amgueddfa Cymru • Figures presented in this report for both art galleries from across the world. This Study was delivered and authored by – National Museum Wales in developing capital and operating expenditure are Lucie Branczik, Project Executive and and delivering the contemporary arts indicative only, based on benchmarks and The anonymised quotations throughout the Becky Schutt, Senior Associate of Event. entity. preliminary scenario modelling. report are drawn directly from confidential Support from the Event team included • The expectation is that any subsequent stakeholder interviews and workshops James Alexander (CEO), Mark O’Neill Collections Access and Policy stage to this study should include full undertaken by Event, unless otherwise (Senior Advisor), Esther Dugdale (Creative • The national collection of modern and business planning based on modelling a noted. Director), Stuart Williams (Art Director) contemporary art, under the care of number of scenarios (for example, Antonio Porto (Graphic Designer) and Amgueddfa Cymru, will be available for curatorial and public programme, defined The study was guided by a Steering Felicity Hearn (Researcher). partners to borrow, interpret and display; sqm, annual visitors, days open, location, Committee led by Peter Owen (Head of • Opportunities for sharing the National etc.). Museums, Archives and Libraries Division, The co-authors are grateful to the Library of Wales modern and Welsh Government) with colleagues David Steering Committee and the wide range contemporary collection and the People’s The Models Alston (Director Arts, Arts Council of of consultees in Wales and the wider UK, Collection, alongside the Amgueddfa The models developed take the form of Wales), David Anderson (Director General, who supported the development of a series Cymru’s national collection of both building-based and building-less Amgueddfa Cymru), Nick Capaldi (Chief of options for a new gallery that are as contemporary art will be explored options, multiple sites – existing or new Executive, Arts Council of Wales), Kath authentic as they are bold; as strategic separately, but are a key part of – and/or a service or partnership Davies (Director of Investment and Funding as they are alluring; as pragmatic as they collections-sharing; agreement. Services, Arts Council of Wales), Lesley- are ambitious. • National contemporary art is not being Anne Kerr (Head of Museum Development, confined to one medium, but Report Structure MALD), and Nick Thornton (Head of Fine encompasses all forms of contemporary Chapter 2 provides findings and Art, Amgueddfa Cymru). art – including visual art, design, craft, implications; Chapter 3 provides an performance art, film and digital and indicative vision and priorities; Chapter 4 Representatives of VAGW (Visual Arts cross-medium; presents the options approach; Chapters 5 Group Wales, the Professional Association • Modern art is defined as works created and 6 present Event’s recommendations for venues and organisations in Wales that from late 19th Century through to the late and potential risks; Chapter 7 provides next both produce and present contemporary Bedwyr Williams, Tyrrau Mawr, 2016 20th Century; steps. visual arts), co-chaired by Chris Brown Artes Mundi 7, National Museum Cardiff, • Contemporary art is defined as current (g39) and Steffan Jones-Hughes (Oriel 2016 practice, created by artists who are alive The Appendix includes the consultation list; Source: Courtesy of the artist and and working today; site visits, bibliography and figures included Limoncello Gallery Source: Arts Council of Wales National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 22 July 2018 2. Findings and Opportunities Findings and Opportunities

This chapter presents the context and The chapter is ordered as follows: our analysis of five core themes – Contemporary Art in Wales; Supply; Contemporary Art in Wales Demand; Key Contexts; and Sector • Contemporary Art and Artistic Practice in Ambition. This context and analysis directly Wales. informed the development of the purpose; the 12 options for a new National Supply: Visual and Applied Arts Ecology Contemporary Art Gallery Wales (Appendix • Visual and applied arts ecology in Wales; 6); the criteria and weighting in which to • National and international profile; assess these options (Chapter 4); and our • Artist Professional Cycle; final recommendations for a National • Content and Collections. Contemporary Art Gallery Wales (Chapter 5). Demand: Audiences • Existing visual and applied arts The context provided here is essential to audiences; understand in order to ensure that any new • Creative education; national gallery is relevant to today and • Potential cultural tourism market. tomorrow’s audiences and artists; authentically embedded into the existing Key Contexts visual arts ecosystem; and aligns with the • Economic case for culture and creativity; ambition and aspiration for the nation. • Capital investment and projects in the pipeline; • Exhibition and storage space; • Operating model and business model; • Social case and growth of impact investment; • Health and well-being agenda; • Education, creativity and citizenship.

Sector Ambition

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 24 July 2018 Contemporary Art in Wales

“From encyclopaedic ‘cabinets of curiosity’, to echoing cathedrals for the larger-scale work (and reputations) of artists, museums are now entering a third age as collaborative spaces, where artists, audiences and curators interact in the co-production of culture and value.” Adam Price AM, Carmarthen East and Dinefwr

Art and Artistic Practice Living artists who reflect Wales and its so too did the man,” according to his 2006 landscape include North-West Wales artist obituary. 20 Today housed at Oriel Ynys Môn Darren Hughes, who paints impasto in Anglesey, where he lived for much of his colourful Welsh landscapes around his life, 21 and currently on show at the National home; Kevin Sinnott who portrays the Library of Wales, Williams’ landscapes are vibrancy of the South Wales valleys, its considered archetypal. communities and their life; Welsh painter and printmaker, Mary Lloyd Jones, who is Beyond landscape, diversity in artistic inspired by the scarred landscape approach, the use of mixed-media, new The landscape as muse associated with a legacy of lead mining and materials, ephemeral processes and Holly Davey, The Conversation, mixed follows a long-standing tradition in Wales: the Welsh language. Many other artists, immersive experiences are distinctive media installation, at g39, Cardiff, 2017 some more populist and some more factors in contemporary art today; Welsh Source: Holly Davey “The qualities of the landscapes of Wales lie critically-acclaimed, include Mike Carter, artists are no different in their interests and Koan Exercises, 2004 at the heart of the country’s power over Helen Sear, David Nash, Tim Davies, Mike approaches to the broader frame of Source: Peter Finnemore artists – wildness, ancientness, vastness, Perry, Deborah Butler, Gwyn Roberts, Peter contemporary UK art practice. This is strangeness.” 19 Kettle, Janie McLeod, David Tress and demonstrated by Holly Davey’s sculptural William Wilkins. Together their works form a explorations of imagined reality; Peter As one Arts Leader stated: significant part of the Welsh contemporary Finnemore’s photographic and art scene. performance based works about home “[In Wales] There is a realist approach to and memory in a Welsh cultural context; portraying the environment. It’s gritty, These artists are preceded by the late Iwan Bala’s imagined maps examining unidealised, not emphasising any style. Just Kyffin Williams, widely regarded as one of connections between Welsh myth and honest. That’s distinctive in Britain. There is the most important Welsh artists of the current issues: “nationhood, identity, something coherent going on there.” 20th century, created enduring “dark,

monumental landscapes of Snowdonia 20 Rian Evans, Sir Kyffin Williams Obituary, The Guardian, 3 19 Peter Wakelin, Romancing Wales: Romanticism in the Welsh which came to assume an iconic status and September 2006 Landscape since 1770 (2016) 21 Ibid

WhatThe Welsh makes landscape Welsh contemporary and language arthas distinctivelydeeply informed Welsh? the contemporary visual arts practice in Wales. Many interviewed noted both contemporary artists’ passion for environmental practice and the Welsh landscape as a major source of inspiration and material. Contemporary Art in Wales

culture, and the irrevocable decline of the Jenkins (poet Nigel Jenkins’ daughter) – • PEAK, based in the Black Mountains, language” 22; and Bedwyr Williams’ mixed- and Susan Adams – who has led a works with professional artists and media humorous critiques of everyday life. collaborative project with contemporary communities responding to the rural voice-hearers in Wales. Another recent environment; Ephemeral works of art, and those that example is artist David Garner whose focus on the process of creation beg performative sculptural work Call and • Who Decides? (October 2017 - questions about if, and therefore how, Response 2015 – staged in the Chartist September 2018), a National Museum museums today can collect the Cave near Trefil – saw a collaboration with Cardiff exhibition curated by people from uncollectable. This is something that composer and harpist Rhodri Davies. This The Wallich, a charity supporting people Amgueddfa Cymru is already beginning to type of collaboration is also seen in the who have experienced homelessness in consider, as evidenced most recently by National Theatre Wales productions where Wales, and; the Icelandic artist, Ragnar Kjartansson’s, artists, writers, designers and creative The Sky in a Room, performance exhibition thinkers are encouraged to generate ideas • Tˆy Pawb in Wrexham, opened in March and acquisition into the Amgueddfa and be part of the extended National 2018 deploying the architectural concept Cymru’s contemporary art collection, made Theatre Wales team. of Baggy Spaces to create a new model possible by the Derek Williams Trust Artes that ‘offers looser and more experimental Mundi Purchase Prize (£30,000) and Forward-thinking practices in collaboration space and socially-engaged programmes support from the Art Fund. and audience engagement, including a that surpass public expectations’. rethinking of curatorial authority and As coined by Tˆy Pawb Architects Consultees highlighted the need to co-creative programming, are being Featherstone Young, ‘the Baggy Space recognise that any new contemporary art advanced by artists and curators in Wales’ concept is about touching an environment gallery should enable and promote cross- national, regional and local visual arts just enough, or as little as possible, to disciplinary collaboration as a way of organisations. Such practice and enable others to fill the gaps, to garner exploring national identities. As one artist organisational approaches include: ownership and create a place that can be explained, used habitually, and open up the potential • Artist Sean Edwards’ everyday-object, of useful, meaningful experiences.’ 23 “Poetry has a longer continuum. So I’m sculptural work invites audiences to play looking at core identity, essence of Wales a role in its making. They tend to be Consultation also confirmed the clear and Welshness–over the centuries by realised as in-progress works, which are passion for authentic, socially-engaged working with contemporary poets.” only completed in the exhibition space – practice, often taking place outside the undermining the role of the gallery traditional gallery setting, a shift that is Cross-disciplinary collaborative artists presentation space, making it a process noted more broadly in cultural discourse Eton mess (The Dis-united Kingdom) include Iwan Bala – who has collaborated space; and emerging funding and network 2016/18 Mixed media on Indian Khadi with poet Menna Elfyn and Angharad 23 Sarah Featherstone and Jo Marsh, Designing and paper. 56x76 cm Programming in Baggy Space: a case study of the Oriel 22 https://www.iwanbala.com/node/504 Wrecsam People’s Market project, 2018 Source: Iwan Bala Who Decides? National Museum Cardiff National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 26 Source: Event July 2018 Contemporary Art in Wales

opportunities. 24 As one Museum Director In consultations, artists and curators alike • Miles of Creativity, a group exhibition 26 commented, asserted that the process of making art at MOSTYN. The exhibition explored the was as important – if not in fact more creative act and its relationship to the “There is a real sense of dynamism in Wales. important – than the final product. gallery’s home town of Llandudno. It is really social. It’s not just art, but “It is not about an artefact it is about the As well as exhibiting local creative trades engagement, collaboration, new models, participatory process, the relationship not traditionally shown in an art gallery, and the ruralness of these models.” between artist, art and audiences.” the exhibition included a studio embedded into the gallery space. Here “New models for audience engagement, “There is a move away from elitism to a contemporary sculptor Nick Elphick exploration of exhibition and audience: more egalitarian practice.” Museum Director worked live on a number of powerful production, co-curation and collaboration.” pieces, including a self-portrait exploring Curator and researcher “There are some really exciting initiatives his own struggles with body dysmorphia, being developed by curators in Wales. and discussed his evolving work and the Yet others emphasised that we are How can these be recognised?” Artist impulses behind it with visitors. returning to our pre-modern viewing habits: ‘What happened to the active, participatory Several site visits exemplified this creative In support of this type of project, Ideas: ethos that defined Western [arts] audiences process in action, including: People: Places, Arts Council of Wales’ for 2,000 years?’ 25 programme, provides funding for a small • g39, a contemporary gallery co-founded portfolio of ambitious, genuine community- Wales has a long-standing tradition of by artists Chris Brown and Anthony led projects. The £2.5m programme, socially-engaged practice: Shapland in Cardiff in 1998. g39 hosts a launched in 2014, is designed to embed weekend open studio allowing audiences the arts into new ways of working that “There are long roots in social enterprise access to the process as part of their generate cross sector collaboration, test [in Wales] that go right back. There is annual UNIT(e) programme; new ideas and partnerships and inspire a resurgence in community art.” communities to re-imagine their • Oriel Davies’ The Kitchen, a creative, environment in a creative and empowered flexible social space, where art, way. 29 applications were received at the performance, craft and film were made, launch of the scheme and seven projects UNIT(e) programme, g39, Cardiff shared and inspired, is emblematic of this received a three-year grant, including: Source: g39 The Kitchen, Oriel Davies, Newtown 24 See for example, the Calouste Gulbenkian Foundation’s approach. As the exhibition material Inquiry into the Civic Role of Arts Organisations; the Barbican states, “Designed as a flexible 26 Featuring artists Beacon Garage, Trish Bermingham, Lin Source: Event Centre’s establishment of the Co-Creating Change network, for Cummins, Wendy Dawson, Tim Dickinson, Glyn Ellis, Nick Nick Elphick, MOSTYN, Llandudno artists, producers and community partnerships and supported environment for a wide range of activity, Elphick, Julia S. Greaves, Lizzie Hughes, Mark Hughes, Anna by Arts Council England through their Ambition for Excellence The Kitchen continuously adapted and Jones, Richard Cynan Jones, Patrick Joseph, Judith Bond Source: Event Fund Cakes, Barry Morris, North Wales Vapour, Pea J. Restall, Miguel 25 Lynne Connor, In and Out of Dark; Ed. Steven Tepper and changed over the four months as visitors, Roque, Mike Ryder, Alana Tyson, Alan Whitfield, Wild Horse Bill Ivey, A Theory about Audience Behavior from Sophocles to artists and community groups create and Brewery, Emrys Williams, Gwyn Williams, Susan Williams, Spoken Word (New York, Routledge Press, 2007) 79-100 share their work.”; Sandra Wynne

27 Contemporary Art in Wales

• Confluence, a creative collaboration As described by Paul Haywood, Dean of “Wales is small. Everyone knows one “The building shapes the artists’ work. between Planed, SpacetoCreate, Idea Academic Programmes at University of the another too well. If someone says they don’t It gives them a blank canvas and Architects, Transition Haverford West Arts: Central Saint Martins and Visiting like an artwork, it is as good as saying you inspiration.” Gallery Director and Pembrokeshire County Council, Professor of Creative Community don’t like them.” Established Artist re-imagines the ancient port of Engagement at University of Salford, Ideas: This can be seen, for example, in the works Haverfordwest as a vibrant and People: Places brings together a vast range Programmes such as g39’s WARP are of experimental artist, Andre Stitt who is distinctive market town, reconnected with of people and perspectives: designed to provide a safe environment for interested in the relationship of paintings to its river, in full flow and charged by the artists to receive critical feedback with specific locations and environments and creativity of its people; “As individuals, they may have any of members of the g39 team or visiting artists. Sean Vicary, who works place-sensitively a number of roles in life; artist, designer, These sessions are available to all visual to explore people’s relationships with the • Arts & Minds is new arts & regeneration cultural entrepreneur, curator, project art practitioners regardless of previous natural world, place and landscape. programme in Blaenau Gwent centred on manager, developer, local business, activist, training or academic level. neighbourhoods that form part of the community advocate, educator, and the list The consultation could only touch the extensive housing stock of Tai Calon goes on, but they are all concerned about The majority of the artists interviewed felt surface of the interface between visual and Community Housing, the largest social a shared place in time. They may have that it was important to look beyond the applied arts, and any roll-out of the phases landlord in the region; motivations that vary considerably but they traditional white box designated for gallery of the project could usefully explore this have formed community mindful of shared space, with some artists emphasising more given the strong presence of various • It’s Art But It’s Not is a community values that describe humanity and portray that this environment was a much more types of applied art in Wales. regeneration project in the villages of the better aspects of human nature in challenging place in which to work because Penygraig, Trebanog and Porth. Based in relation to ‘place’. This initiative and this of both its ubiquity and its immutable Rhondda Cynon Taf, this project is a nurturing of fresh communities of purpose boundaries. There was a distinctive desire three year partnership between Trivallis has been and is a moment of change. expressed by many of those artists (one of Wales’ largest registered social That was its first intention. But it is change interviewed for compelling, non-traditional landlords), Valleys Kids and Artes Mundi, without trauma or rapid pace, it is gentle spaces that enable them to be responsive with the aim of putting art at the heart of and evolutionary.” 27 to the volume, scale and nuances of community regeneration. The project has different environments. invited artists to work with communities During consultations, some interviewed to explore their surroundings in creative suggested that the visual arts discourse in As one stakeholder commented, “artists and interesting ways; this has led to the Wales “is not critical enough”, because of today are working against an architectural development of public art as well as new the small sector and the personal backdrop” and those backdrops need to be ways to implement regeneration and relationships between artists. Some varied. environmental improvements. suggested that this is resulting in a “churn of mediocre work.”

27 Prof Paul Haywood, Reflections on Ideas: People: Places, Arts Council of Wales website

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 28 July 2018 Contemporary Art in Wales

Art and Artistic Practice 4. Contemporary artists working in Wales today require more, and more diverse, The land of Wales is both a long- platforms on which to show their work standing muse and a point of (see Exhibition and storage space, page differentiation; any new national gallery 76). This includes both non-traditional can leverage this by providing art gallery spaces and the landscape, contemporary artists with more which could complement traditional opportunities to respond to and work institutional spaces; within it; 5. The artistic process can be made more 2. The symbiotic, and evolving, relationship accessible and transparent to other between contemporary artists, art and artists and the general public and can audiences, begs important questions offer opportunities for open dialogue about presentation/process spaces that about and constructive critique of should be addressed in a national the work; contemporary art curatorial strategy and any physical building and space 6. A new Gallery focused on contemporary programme; art should be co-designed with intersectoral experts (e.g. in Health and 3. Visual arts audiences in the 21st Education) to authentically deliver the Century have shifted from being passive Well-being of Future Generations observers and consumers to active (Wales) Act 2015, as well as other key creators and producers themselves – policy papers including Culture and this focus is even more apparent in Poverty: Harnessing the power of the Wales. Any national contemporary art arts, culture and heritage to promote entity should ensure there are social justice in Wales (Baroness Kay opportunities for audiences to be Andrews OBE, March 2015). artists, artists to be audiences, WAGSTAFF’S, History Series exhibition encouraging all to co-reflect on the at MOSTYN. March 2017. human experience; Source: Lin Cummins W is for Wallpaper Ruthin Craft Centre 2015-16 Source: Dewi Tannatt Lloyd

Implications1. and Opportunity Supply: Visual and Applied Arts Ecology

A Diverse Visual and Applied Arts of visual and applied arts organisations Many noted that while the sector is diverse Wales as a contemporary art gallery, Ecology in Wales across the nation. 29 and energetic, it does not make a national despite both institutions holding and The Welsh visual and applied arts ecology 28 statement about the visual and applied displaying the nation’s contemporary visual is diverse and evolving, comprising publicly- Arts Council of Wales has 67 organisations arts, let alone a contemporary one: and applied art collections. funded, commercial and grass roots art in its Revenue Portfolio of which ten are organisations. The sector is embedded categorised as Visual and Applied Arts “We have some key organs but we lack a “Not everyone knows Cathays Park is the within the rapidly growing creative organisations, both building-based and heart – we need a beat that is contemporary national art gallery, or that it has industries. Our consultations highlighted building-less. A further 15 classify as Welsh art.” Arts Leader contemporary collections.” Artist that this sector in Wales is tight-knit and Combined Arts and include a visual arts historically bound by the geography of the programme. There is a growing sector of “There are different types of galleries As one of the few who did consider these country. It is in part characterised by a small artist-led and project funded across Wales, but they are regional as such stated, small pool of passionate, professional companies. Groups of young artists have galleries. There is nothing national.” Artist curatorial staff and limited funding also begun to supplement and challenge “We already have a national contemporary opportunities. established organisations. 30 “As with a football league, we need local, art gallery. It is a very successful one. It is we need regional – and we need them to in Cardiff.” “Everyone knows everyone. Wales is a small Of the over 100 organisations shown in the feed into the national. Yet our second community of artists and arts maps, the vast majority offer free entry to league are struggling. They are coming up Both institutions are planning to undertake organisations...” Gallery Director permanent and temporary exhibitions. – but they are not thriving.” Funder masterplans in the next year, so the Most also offer free or low cost educational underlying issues for why these national While a large number of consultees argued events and activities to ensure there are “Its crazy Cardiff is so badly served... bodies are not recognised by the sector as or suggested that Cardiff benefits from a no or minimal financial barriers to the rest of Wales has beautiful spaces and the national contemporary visual arts disproportionately high concentration of audience access. it also needs to be included in this spaces can be explored further. arts organisations in the capital (Figure 4), programme and research as Wales is the map of Wales (Figure 3) demonstrates While a number of organisations, such as geographically divided North to South. It is crucial to note, however, that while that there is a healthy geographical spread Aberystwyth Arts Centre, Chapter Arts MOSTYN, Glynn Vivian, Aberystwyth Arts Amgueddfa Cymru houses the national Centre and The Riverfront, promote mixed Centre etc. to name but a few, are wonderful contemporary art collection in the National arts use within their sites, there is public galleries where home-grown artists Museum Cardiff and delivers forward- 28 Word ‘ecology’ used rather economy ‘offers a better approach, because it provides a comprehensible overview that otherwise very little crossover between could show and develop and expand their thinking and well-received programmes does not privilege one type of value – financial value – over the visual arts and other art forms. work as well as showing international such as Who Decides?, very few others that attach to culture.’ ‘Culture is often discussed as an economy, but it is better to see it as an ecology, because this Furthermore, our research suggests there established artists.” Established Artist stakeholders interviewed considered the viewpoint offers a richer and more complete understanding of is little or no relationship built between National Museum Cardiff to be the National the subject. Seeing culture as an ecology is congruent with cultural value approaches that take into account a wide range of the arts and sport and leisure sectors. It is notable that the vast majority of those Contemporary Art Gallery Wales. It was non-monetary values.’ Whilst it is used in reference to culture in interviewed did not characterise the stated that with limited marketing budgets this paper this is true of the visual and applied arts in this 29 Although every attempt was made to map the full visual context. As outlined in John Holden,The Ecology of Culture, arts ecology, please note the list may not be exhaustive, current contemporary art offer at it is not marketed sufficiently in this context; A Report commissioned by the Arts and Humanities Research particularly with regards to small arts projects. Amgueddfa Cymru or the National Library the mixed collections on site meant that the Council’s Cultural Value Project (Jan 2015) 30 Arts Council of Wales Investment Review, 2015

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 30 July 2018 Supply: Visual and Applied Arts Ecology

contemporary art offer is diluted; and given While there is an increase in sustainable in Wrexham’s former JJB Sports shop, the nature of the building and collections it grassroots practices and amateur activities following the company entering was considered to be more closely aligned involving young people across the UK – administration in 2012). Consultations to the museum and heritage offer. 49,000 amateur arts groups in England confirmed that these initiatives have been alone 31 – consultations confirmed that attributed with regenerating young artists unable to gain access to neighbourhoods and attracting newcomers institutions possess a level of open- to the area. Such projects have also mindedness and willingness to establish enabled artists to build direct relationships their own organisations. with local audiences, fellow artists and the local environment. Artists are able to test When talking about Artes Mundi, one out what appeals to a contemporary consultee highlighted that… market, and respond and react directly. “It couldn’t have happened in Scotland… it is a reflection of the openness and freshness These identified benefits are echoed in and willingness to start something new.” research about artist-led cultural Arts Journalist regeneration. 32

However, there is a concern that this is “Within Cardiff it feels like there are more Curator borne out of the lack of contemporary artists actively living and working in the city, space, there are more independent galleries. It is “There are more artists staying in Wales and becoming more confident.” Museum Director building grass root communities to support “… we’ve lost two spaces… artists out of them. Then hopefully [they will reach the] desperation have started doing their own Some consultees stated that part of the institutions and universities.” Artist [exhibitions].” reason these initiatives have been able to develop is because Wales is still relatively “Initiatives like g39… [demonstrate that] Many interviewed emphasised that these affordable, despite rent prices going up in artists have to create their own thing… artist-led initiatives are having a positive Cardiff, certainly more affordable than [There is] a lot of initiative and experimental impact in their communities, including other UK cities. During the consultations, ArcadeCardiff, Cardiff art in Wales. Sometimes they don’t make it through their re-apportioning abandoned some artists stated that they felt there was Source: Event, February 2018 in the establishment, [but in these initiatives] buildings (e.g. Old College in Aberystwyth) still a requirement for further investment Martin Tinney Gallery, Cardiff there is no complacency.” Artist and vacant shops (e.g. ArcadeCardiff and into new work spaces: Source: ArtRabbit its project space Three Doors Up; Undegun

31 Hilary Ramsden, Jane Milling, Jenny Phillimore, Angus 32 See, for example, Dan Thomson, Working Paper 48 Culture McCabe, Hamish Fyfe and Robin Simpson, The role of and regeneration, GLA Economics, What evidence is there of a grassroots arts activities in communities: a scoping study link and how can it be measured? We can do much more (Dec 2011) together – it’s not so impossible, Pop Up People (2012)

Grass roots initiatives, particularly in urban Aareas Growing such Grassas Cardiff, Roots Swansea Culture and Wrexham, are offering artists opportunities outside of the institutions to experiment and take initiative. In Cardiff alone there are more than 30.

“There are some interesting artist-initiatives like ArcadeCardiff in the basement at Queens Shopping Centre. They handover space to artists but it is hand to mouth. It’s relatively low risk and in public spaces.” Supply: Visual and Applied Arts Ecology

“What is needed is affordable art spaces (est. 1992), Ffin y Parc House and Gallery “The commercial sector is missing... We are Craft in the Bay, Oriel Lliw (Pontardawe – artist studios.” Artist (est.2007), Kooywood Gallery (est. 2004) lacking in support and philanthropy because Arts Centre) and Oriel Davies. Encouraging and Gallery/Ten (est. 2010). These tend to there is a lack of collectors. The issues with and developing personal collecting is a Most of the arts organisations do not house be located within urban areas, particularly the visual arts [in Wales] stem from this.” significant part of the Arts Council’s artists studios (Figure 5), instead many Cardiff (Figure 4). While publicly subsidised galleries cannot strategy for supporting artists and making artists’ studios are located in their spare sell art directly they are able to do so if they art and craft purchasing more accessible. rooms, sheds and garages. 33 These “Here are all these artists and they haven’t have a separate trading arm. There are a under-the-radar spaces are showcased a hope in hell of selling anything.” number of arts organisations in Wales annually at Cardiff Open Studios Weekend Museum Director doing this, providing access to the work of (founded by artist Richard Higlett and now living artists and earning revenues in the part of the Cardiff Contemporary festival), One Professor suggested that: process. One innovative example is Plas and enables the public access to the artist Glyn-y-Weddw, which, due to the mixed and artist-led group studios (Figure 4). “Artists are resisting the market and the idea nature of the arts is eligible and applies for of art as a commodity. They use it as a public grants, while being a commercial Commercial art galleries framework to resist. The irony is they have gallery. While this is a point of Many interviewed stated that the growth of to make a living. Ironically you can make art differentiation, it is also a challenge as the the visual arts sector is dependent on that critiques the market.” gallery is unable to compete with the parallel quality and vibrancy in the art private galleries as income from art sales ecosystem, including in art schools and the While the core of this Preliminary Feasibility subsidises the non-commercial activity resulting development of a commercial Study is not an examination of the onsite including exhibitions, installations market. commercial art market, its immaturity in and art projects. Wales is notable compared to England, “Unlike London or Glasgow, Swansea and Scotland and Ireland. There is a relatively Additionally, over 50 arts organisations in Cardiff don’t have a vibrant commercial small portfolio of commercial art galleries Wales participate in the pioneering scene, which alongside institutions is operating across Wales, which some Collectorplan scheme, set up by Arts essential to drive a contemporary art suggested in consultation is correlated with Council of Wales in 1983. The scheme, market.” Contemporary Art Auctioneer both an exodus of mid-career artists (see UK’s first, helps UK residents to buy original Artist Professional Cycle below) and a works of art and crafts by living artists The contemporary commercial art market relatively small collector (and potential through interest-free credit. Participating in Wales is limited, with approximately 12 donor) base. A Gallery Director articulated: organisations include Galerie Simpson and commercial galleries operating across Gallery/Ten as well as more established Wales, including Martin Tinney Gallery institutions such as Aberystwyth Arts Centre, Llantarnam Grange Arts Centre,

33 https://www.a-n.co.uk/news/cardiff-open-studios- weekend-more-than-140-artists-across-the-city

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 32 July 2018 Supply: Visual and Applied Arts Ecology

Visual and Applied Arts Ecology in Wales

While a diverse and regional set of institutions have been established and energetic grassroots initiatives are growing in Wales, there is a conspicuous gap in the market for a significant and lasting contemporary art presence at the national level. “There are lots of artist groups in Cardiff and Swansea, but nothing contemporary at national level.” Artist There is an opportunity, if not an imperative, for any national art intervention to complement and build upon Wales’ resource and assets, rather than destabilise or disregard what already exists.

2. Opportunities to buy original living artists’ works, including participation in the Collectorplan, should be considered in the development of any National Contemporary Art Gallery Wales, both to continue the support for Welsh and international artists and enable purchasing by all audience groups. Chapter Arts Centre, Cardiff Mission Gallery, Swansea 3. There is an opportunity to explore the Oriel Davies, Newtown Amgueddfa Cymru, Cardiff way in which the commercial arts sector MOMA Machynlleth, Machynlleth Source: Event, December 2017 in Wales could be developed in relation Source: Event, January 2018 Old College, Aberystwyth to any new institution, including the Source: Aberystwyth University, 2018 mechanisms and initiatives that could be put in place.

Implications1. and Opportunity Supply: Visual and Applied Arts Ecology

19 9 11

Figure 3: Supply map in Wales Source: Event and Bob Gelsthorpe, April 2018 National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 34 July 2018 Supply: Visual and Applied Arts Ecology

Key: 20 Valley & Vale Community Arts, Bettws 16 Oriel Bodfari Gallery, Denbigh Those organisations identified as publicly Nationals 21 Ffotogallery, Penarth 17 Tina Holley Gallery, Llandudno funded (black) are subsidised by at least 1 National Museum Cardiff 18 The Bay Gallery, Conwy one of three sources: the Heritage Lottery 2 St Fagans, Cardiff Art Schools 19 Alison Bradley Gallery – Betws y Coed 3 Big Pit National Coal Museum, Blaenafon 1 School of Creative Arts, Wrexham Glyndwˆr 20 76m2 (formerly the kickplate gallery), Bargoed Fund, local authorities and Arts Council of 4 National Wool Museum, Llandysul University, Wrexham 21 The Reading Room, Manorbrier Wales. 34 Arts Council of Wales has 67 5 National Slate Museum, Llanberis 2 Cardiff School of Art & Design, Cardiff 22 Mam’s Fridge Gallery, Treorchy organisations in its revenue portfolio of 6 National Roman Legion Museum, Caerleon Metropolitan University, Cardiff 23 Coed Hills Rural Artspace, St.Hilary which ten are purely visual/applied arts 7 National Waterfront Museum, Swansea 3 University of Wales Trinity Saint David, Swansea 24 Balaclafa, Caernarfon organisations, both building-based and 8 National Library Wales, Aberystwyth College of Art, Swansea 25 Studio18, Bridgend 4 Prifysgol Aberystwyth University, School of Art, 26 The Studio (Emrys Williams’ Studio), Llandudno building-less. Independent Aberystwyth 27 Exist Skatepark, Swansea 1 Cyfarthfa Castle Museum and Art Gallery 5 School of Art and Design, University of South 28 Helfa Gelf Open Studios, North Wales The Welsh Government has allocated 2 MOMA Machynlleth Wales £22.68m Grant-in-Aid directly to 3 Oriel Plas Glyn-y-Weddw 6 Coleg Sir Gâr / Carmarthen School of Art, Commercial Galleries Amgueddfa Cymru for 2018-2019. 35 4 Tenby Museum and Art Gallery Carmarthen 1 Ffin y Parc Gallery LLanrwst 5 Bodelwyddan Castle 7 The Welsh Academy of Art, Crickhowell, Powys 2 King Street Gallery, Carmarthen Forming part of the Government’s total 6 Oriel Brondanw, Llanfrothen, Gwynedd 8 Coleg Menai, Bangor 3 Attic Gallery, Swansea Grant-in-Aid investment, the funding is 7 Oriel Mwldan, Cardigan 4 Oriel Bach Gallery Mumbles, Swansea designed ‘to protect culture and deliver 8 Oriel Q, Narberth Local Authority 5 Erwood Station Gallery, Builth services’ and includes support of National 9 Royal Cambrian Academy, Conwy 1 Newport Museum and Art Gallery, Newport Library of Wales (£10.83m), National 2 Oriel Ynys Môn, Llangefni University Museums Arts Portfolio Wales 3 Storiel, Bangor 1 Oriel y Bont, University of South Wales, Pontypridd Botanic Gardens (£580K) and the People’s 1 Aberystwyth Arts Centre, Aberystwyth 4 Tˆy Pawb, Wrexham 2 Aberystwyth University, School of Art Gallery and Collection Wales digital heritage 2 Oriel Myrddin Gallery, Carmarthen 5 Oriel y Parc Gallery & Visitor Centre, Saint David’s Museum, Aberystwyth programme. 36 3 MOSTYN, Llandudno 6 Parc Howard Museum and Art Gallery, Llanelli 4 Oriel Davies, Newtown 7 Brecknock Museum and Art Gallery, Powys Border Galleries 5 Pontardawe Arts Centre, (Local Authority) 1 IKON, Birmingham 6 Ruthin Craft Centre, Ruthin Grass Roots and Artist Studios 2 New Art Gallery, Walsall 7 Glynn Vivian Art Gallery, Swansea (Local 1 Articulture Wales, Esgairgeiliog 3 HOME, Manchester 34 Arts Council of Wales receives £31.391m directly from the Authority) 2 Elysium Gallery, Swansea 4 Tate Liverpool Welsh Government to distribute 35 Grant-in-Aid to Amgueddfa Cymru has increased from 8 Taliesin Arts Centre, Swansea 3 This Project (Undegun, Gallery 3B), Wrexham 5 Walker Art Gallery, Liverpool £20.8m in 2016-17 to £21.8m in 2017-18 and £22.68m in 9 Llantarnam Grange Arts Centre, Cwmbran 4 Cinema & Co, Swansea 6 Arnolfini, Bristol 2018-19. The figure for 2017-18 includes £269,000 transferred 10 Artis Community, Pontypridd 5 Greenspace Gallery, Carmarthen 7 Whitworth Gallery, Manchester from the museum’s specimen purchase fund (the fund is halved 11 Peak / Arts Alive, Crickhowell 6 Oriel Blodau Bach, New Inn 8 The Royal Standard, Liverpool for 2017-18 to £269,000 from £538,000 in 2016-17), which the Welsh government reallocated to compensate museum staff for 12 Arts Care Gofal Celf Ltd, Carmarthen 7 Rhod, Melin Glonc, Drefelin 9 CBS, Liverpool changes to their contract for weekend working, and a one-year 13 Arts Connection Cyswllt Celf, Llanfyllin 8 Popty, Lawrenny 10 Spike Island, Bristol only additional uplift of £730,000. Although it is a slight uplift on 14 Pontio, Bangor University, Bangor 9 Colony Projects, Port Talbot 11 East Bristol Contemporary, Bristol the previous year, it is down from £23m in 2015-16. In all, the 15 Galeri Caernarfon Cyf, Caernarfon 10 The Lab, Haverfordwest 12 The Sidney Nolan Trust, Presteigne museum saw a 33% real-terms cut to its budget from 2010-15. Capital maintenance funding in 2017-18 is £4,989,000. Welsh 16 Head4Arts, Abertillery 11 Studio Cybi, Holyhead Government Final Budget 2016-17, 2017-18 and 2018-19 17 Mission Gallery, Swansea 12 Bloc, Gladestry Additionally, there are Public Art Commissioners, 36 http://gov.wales/newsroom/culture-tourism- 18 The Riverfront, Newport 13 Swansea Print Workshop, Swansea including Studio/Response, Wales-wide and Datrys, sport/2017/170515-45m-welsh-government-funding-to- 19 Ucheldre Centre, Holyhead 14 New British Art, Porthyrhyd North Wales. support-wales-national-cultural-heritage/?lang=en 15 Rob Piercy Gallery, Porthmadog 35 Supply: Visual and Applied Arts Ecology

Key: 12 Jacqueline Alkema’s Studio Nationals 13 Jo Berry’s Studio 1 National Museum Cardiff, Cardiff 14 King’s Road Artists Studios 2 Amgueddfa Cymru St Fagans 15 Lynne Cartlidge Fine Art Studio 16 Made in Roath Independent 17 Morgan Arcade Studios 1 The Gate Arts Centre 18 Off the Wall Gallery 2 Bay Art Gallery 19 Oriel Canfas Gallery and Studios 20 Philippa Brown’s Studio Arts Portfolio Wales 21 The Printhaus Workshops and Studios 1 g39 22 Print Market Project 2 Ffotogallery, Penarth 23 Rabab Ghazoul 3 Chapter Arts Centre 24 Red Door Studios 4 Disability Arts Cymru 25 TactileBOSCH Studios 5 Craft in the Bay 26 Three Doors Up 6 Artes Mundi 27 Warwick Hall Studios 28 Studio B, Tudor Lane Art Schools 29 Ruin Cafe 1 Cardiff School of Art and Design, Cardiff Met 30 Rat Trap 31 Spit & Sawdust Commercial Galleries 32 Blue Honey 1 Martin Tinney Gallery 33 Milgi 2 Gallery/Ten 3 Kooywood Gallery 4 The Albany Gallery 5 Castle Fine Art 6 SHO gallery and shop 7 Whitewall Galleries

Grass Roots, Artist Studios, Event Hosts and Co-Producers 1 Arcade Cardiff 2 Boiler House Graffiti Gallery 3 The Bone Yard Figure 4: Supply map in Cardiff 4 The Broadway Drawing Schools 5 Butetown Artists’ Studios Source: Event and Bob Gelsthorpe, 6 Cardiff Made April 2018 7 Cardiff Print Workshop 8 Dorcas Pennyfather’s Studio 9 Fireworks Clay Studios 10 Ian Smith’s Studio 11 Inkspot Studios

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 36 July 2018 Supply: Visual and Applied Arts Ecology

Sample Spaces (sqm) Arts and Cultural Organisation Total Venue Size Public Public Public Non Public Non Non Public Non Public Non Public Non Collection Collection Collection Collection Collection Collection Collection (Permanent (Temporary (Education) (FoH e.g. foyer, (artist studios) (Stores, (BoH admin, galleries) galleries) retail, F&B, conservation) technical auditorium) rooms) Aberystwyth Arts Centre (Aberystwyth - 0 335 (+35m 0 Shared spaces 9,000 65 Shared spaces University), Aberystwyth running wall) Chapter Arts Centre, Cardiff 7,132 0 375 0 1,131 1,497.25 0 1,785 g39, Cardiff 706 0 296 53 60 196 5 96 Glynn Vivian, Swansea 2,933.3 154.8 984 123.7 322.7 0 482.7 724 Llantarnam Arts Centre, Cwmbran 533 150 84 102 130 0 42 25 Mission, Swansea 141 0 57 41 43 0 0 0

MOMA Machynlleth, Machynlleth - 0 240.89 0 61.27 0 - - MOSTYN, Llandudno 2,000 0 403 43.37 374.57 0 75 - National Library Wales, Aberystwyth 34,998 0 1,686 0 1,598 0 834 5,590 Newport Museum and Art Gallery, Newport 725.5 488 21 0 505 0 211 - (in 5 storey building) National Museum Cardiff (post 39,953 2,584 1,495 607 2,216 0 850 Shared spaces 1900-collection) Oriel Davies, Newtown 563.4 0 208 93 54 0 30 121 Oriel Plas Glyn-y-Weddw, Pwllheli 3,194 +12 acre 3 history 295 64.71 Shared spaces Flexible space, - Shared spaces woodland galleries + 250 person sqm unavailable theatre Oriel Ynys Môn, Llangefni 1707.65 323.86 616.61 100.24 148.9 0 186.84 186.84 Ruthin Craft Centre, Ruthin 1,566 0 287 216 251 342 0 134 Tˆy Pawb, Wrexham - 0 364.25 48.59 536.29 75.06 0 81.31

Figure 5: A non-exhaustive sample of arts and culture organisations in Wales, illustrating the nature and scale of the venues Source: Event, April 2018 37 Supply: Visual and Applied Arts Ecology

Networks and Partnerships Sharing Treasures investment. Lack of Oriel Plas Glyn-y-Weddw is a partner Networks and Partnerships Visual arts partnerships within Wales take capacity, including time, skills and space, of the Ecomuseums (a 300-strong Implications and Opportunity the form of skills and knowledge exchange, was identified as a major barrier preventing network, celebrating the identity of place 1. There is a requirement for more collections sharing and some co-curation. venues and professionals from and aiming to enhance the welfare and proactive, strategic partnerships and an Yet there is wide recognition from the participating in the scheme, and development of local communities) and appetite for joint-research, advocacy, sector that these partnerships could be Amgueddfa Cymru from nurturing more Celtic Neighbours (a network working to joint-funding bids and exhibition more strategic, more proactive, and partnerships. stimulate cultural collaborations between exchange across the visual arts sector. potentially scaled and leveraged. minoritised-language communities). Celf Cymru Gyfan – ArtShare Wales, the 2. The recommendations from and Sharing Treasures – Cyfoeth Cymru Gyfan, Amgueddfa Cymru Visual Art Partnership, The importance of these networks was benefits of Sharing Treasures outlined a scheme supporting the loan of was piloted between 2004 and 2008 and highlighted by one Professor: in the Review begin to address a Amgueddfa Cymru’s collections, and was funded until through the pilot phase number of issues regarding democratic latterly collections from other national until 2010 by the Esmée Fairbairn “When times are hard, we either close off or access to the national collection, organisations, to local museums across Foundation. It delivered access to the reach out…reaching out and collaborating is upskilling the sector and provision of Wales, was closed after ten years despite national art collections. 19 projects were a survival instinct.” higher-quality infrastructure in Wales. an evaluation in 2010/11 emphasising the launched in 10 venues including Consideration should be given to how considerable strengths of the network and Bodelwyddan Castle, Glynn Vivian Art these recommendations could be clear recommendations for improvement. Gallery, Oriel Davies Gallery, MOSTYN, advanced in the development of any The programme received a budget of £110k Ruthin Craft Centre, Locws International, new entity. in 2009-10 (increasing from £50k in Brecknock Museum & Gallery, University of previous years). According to the Sharing Glamorgan, Oriel y Parc Gallery, National Treasures evaluation, the scheme provided Portrait Gallery (London) and over 400 art skills development for museum objects were loaned to a number of professionals, offered the public more museums and galleries across Wales. access to Amgueddfa Cymru’s collections and other National collections and resulted Many organisations are also active in in capital upgrades to local facilities. networks external to Wales. By way of example, Artes Mundi, MOSTYN and Glynn The authors of the Evaluation Vivian are members of the Plus Tate recommended that the scheme be network, established in 2010 to share broadened to improve flexibility for collections and expertise and build a partnering venues; to enable different levels network which would use Tate’s resources of activity; and to ensure that upgraded to strengthen the contemporary visual arts facilities are used to meet the public’s ecology in the UK. The network has 35 raised expectations following the initial cultural institutions in its membership.

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 38 July 2018 Supply: Visual and Applied Arts Ecology

National and International Profile In the period 2015-18 the fund supported Arts Council of Wales and Wales Arts The success of the Artes Mundi Prize, The visual arts sector has an ambition to Wales based visual and applied artists in 75 International, with support from the Welsh a biennale international exhibition in Cardiff build its national and international profile, collaborative projects in 32 different Government and British Council. founded in 2002 by Welsh artist William and to ensure there is healthy and ongoing countries. Projects included visual arts and Wilkins with support from Arts Council of dialogue across the nation’s borders. crafts and other artforms. Expenditure in Since 2003 the level of investment in Wales, is demonstrated by the over 800 respect of these projects over 2015 to 2018 Cymru yn Fenis Wales in Venice has entries it attracted in 2016 from critically “It is terribly important that artists are part was £182,345, which is an average of increased from £285,000 to a £375,000 acclaimed artists across 90 countries. of the world stage” Museum Director £2,430 per project. core budget across the two year project. 37 At £40,000 it is the largest art prize to an Over the past fifteen years, Wales in Venice individual visual arts artist in the UK, Such well-regarded platforms as Cymru yn In 2002 the Arts Council of Wales (ACW) Artists have included Simon Pope, Laura with many interviewed emphasising the Fenis Wales in Venice, Artes Mundi and the agreed to fund a Welsh presence at the Ford and Paul Granjon, Richard Deacon, importance and high calibre of the prize, Lumen Prize for digital art actively seek to Venice Biennale of Arts for three cycles (i.e. Merlin James and Heather and Ivan and its positive reflection on the ambition broker international dialogue and six years to the end of the 52nd Venice Morrison, Cerith Wyn Evans, Bethan Huws, of Wales. Artes Mundi is notable for partnerships, and many visual arts Biennale in 2007), and to support a new Paul Seawright, Helen Sear, Bedwyr integrating fundraising expertise into the organisations across Wales develop major International Visual Arts Prize, Artes Williams, Tim Davies and John Cale. Arts core team at its founding, but nonetheless projects with international partners. Mundi, for three prize cycles (2004-2008). Council of Wales commissioned Arad today continues to face similar capacity Both well-regarded platforms, Cymru yn Research to undertake evaluations of the challenges to its peers across Wales. Yet the ambition to deliver international Fenis Wales in Venice and Artes Mundi, programme in 2008 and 2015. The latter partnerships is tempered by limitations, continue today to actively broker study, The Value and Impact of Wales’ The Lumen Prize for Digital Art is an including a lack of staff capacity and international dialogue and partnerships. Presence at the Venice Biennale for the international award and tour that aims to resource; insufficient exhibition space visual Arts Sector in Wales (2015) raise the understanding, appreciation and precluding organisations from being active Cymru yn Fenis Wales in Venice projects, demonstrates the positive impact of Wales enjoyment of digital art. Lumen Jury Panel participants on the international touring developed by Arts Council of Wales and in Venice on positioning Wales and Welsh member, Bruce Wands stated “The Lumen circuit, both importing and exporting; the exhibition team (organisation(s) and/or artists, providing experience and Prize continues to evolve and keep a finger a lack of sector-wide advocacy or strategic individual(s)) selected to deliver the opportunities for galleries, curators and on the pulse of new forms of digital art and relationships with the national press; and presentation, celebrate the best of artists (and recently invigilators from Welsh creative self-expression.” Prizes range in insufficient tourism materials, where the emerging and established artists from universities). Some have emphasised that value from $250 to $3000 and since its arts are not overtly covered in Welsh Wales. They showcases Welsh artists at despite the importance of this programme, launch in 2012, it has disbursed nearly positioning. the Venice Biennale, the largest visual arts the reality is that some Welsh artists $45,000 in prize money, toured the world exhibition in the world, hosting represented at the Biennale exhibited their four times and staged over 30 shows, Wales Arts International, the international approximately 500K visitors and 24,000 work without having a dealer in place. seminars and events, exposing people to arm of the Arts Council of Wales operates cultural professionals every other year. the debate and the variety in digital work. an International Opportunities Fund via Wales in Venice is commissioned and In 2016 for its fifth edition it attracted over strategic use of Lottery funding. managed through a partnership between 700 entries from 45 different countries and 37 The budget grew to £400,000 before being reduced back saw selected artworks tour venues across to its current £375,000 as Arts Council of Wales dealt with cuts.

39 Supply: Visual and Applied Arts Ecology

the globe, including venues in Brighton, to look into recent, current and future London, New York, Shanghai, St Petersburg strategic initiatives between Wales and and Caerphilly. A number of Lumen Prize China; Pontio hosted a new Wales-China artists have had their work collected by Festival in February 2018. museums; others have benefited from commission and exhibition opportunities Despite these important programmes and through the Lumen partner network. initiatives, many interviewed felt there was still a requirement for a high profile, “The reputation of Lumen gets noticed and well-resourced Welsh institution working opens doors that my work alone can’t.” strategically to both broker international Ed Bateman, Lumen finalist, Still Image award relationships and cement existing (2014) & Moving Image award (2016) 38 relationships across Wales. Some suggested the equivalent would be The A small but significant handful of visual arts Modern Institute in Glasgow, which works galleries in Wales regularly foster unique with 42 international and Scottish emerging connections with collaborators abroad. and established artists to do just that. Chapter Arts Centre and Ffotogallery were The Institute’s recent international projects each awarded the highly-competitive status include partnerships with Sao Paulo, Beirut, of success story by The European Oslo and San Francisco and the ongoing Commission in 2017 for “finalised projects publication of monographs and exhibition that have distinguished themselves by their catalogues. While a commercial model, its impact, contribution to policy-making, educational and partnership reach is innovative results and/or creative approach central to its mission. and can be a source of inspiration for others.” (33 projects were awarded this status from a pool of 738 projects, with two Carlos Bunga, Exodus (2014). Site specific of the three UK projects awarded being installation at National Museum Cardiff. located in Wales). Swansea-based Mission Image courtesy the artist. Credit: Warren Gallery undertook a residency with Orchard Residency Unlimited in New York (2016), James Richards and Steve Reinke, funded by Wales Arts International. In 2017 What weakens the flesh is the flesh itself, Wales Arts International established a video, 2017, linked to the Cymru yn Fenis / research partnership with Bangor Wales In Venice project. University on behalf of Welsh Government Source: Courtesy of the artist and Chapter; 38 https://lumenprize.com/about/ Photos Mark Blower National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 40 July 2018 Supply: Visual and Applied Arts Ecology

National and International Profile “There are lots of missed opportunities Implications and Opportunity where people come to Wales and we can’t 1. The visual arts sector has ambition to bring them back. We want to nurture those build its national and international relationships.” International Curator profile, and to ensure there is healthy and ongoing dialogue across the 3. The unrealised recommendations nation’s borders. In Artes Mundi, published in the 2015 evaluation of the Cymru yn Fenis and The Lumen Prize, Venice Biennale remain as relevant the Welsh visual arts sector has today as then: established three consistently, highly- visible international contemporary art • Develop an improved touring programmes that attract positive infrastructure to bring back the work attention and successfully position the to Wales and delivering a strategy to nation within a crowded global cultural tour the work at a wider UK and marketplace. These exhibitions – the international level; success they garner abroad, and the • Further invest in the visual arts stories they tell about contemporary art infrastructure in Wales (is required) and society – should be shared widely to maintain the profile and momentum with Welsh citizens. of the sector and further capitalise on the impact delivered. 2. In turn, other creative projects in Wales could benefit from the relationships and networks Artes Mundi, Cymru yn Fenis and The Lumen Prize have cultivated, enabling Wales to showcase the nation’s work more widely overseas. The capacity – in resource and infrastructure – to both export and import an international programme of existing contemporary art initiatives, drawing on strengths from across the sector, is notably lacking.

41 Supply: Visual and Applied Arts Ecology

Artists Professional Cycle 2017 Institute 2017 2016 Global Rankings Location Art Schools 1 UCL “The speed of the growth of the creative 1 1 Royal College of Art UK 2 Newcastle industries…depends upon an environment 2 2 Massachusetts Institute of Technology (MIT) USA that encourages innovation and rewards 3 Oxford 3 4 Parsons The New School for Design USA enterprise…there is a vital need to ensure a 4 Oxford Brookes 4 3 Rhode Island School of Design (RISD) USA pipeline of creative talent and original ideas 5 Leeds for economic as well as cultural growth… 39 6 Goldsmiths 5 6 Pratt Institute USA

While the creative industries in Wales are 7 Kingston 6 5 University of the Arts London UK fast growing, they “depend on... art schools 8 Nottingham Trent 7 10 Politecnico di Milano Italy to supply them with the fresh talent that will 9 Northampton 7 7 School of the Art Institute of Chicago (SAIC) USA keep them in their position as global 10 Aberystwyth pioneers.” 40 However the introduction of 8 12 California Institute of the Arts USA 22 Wrexham Glyndwˆr funding cuts and university fees has had an University 10 8 Stanford University USA adverse effect on attracting talent. As one Welsh university lecturer stated: 23 Manchester Metropolitan 11 15 University of Oxford UK 58 Cardiff Met 15 11 Goldsmiths, University of London UK “We are getting a much less international 63 South Wales and diverse cohort since fees have been 19 20 Glasgow School of Art (GSA) UK Figure 6: Art & Design universities introduced. Before [fee introduction] we got 36 38 Loughborough University UK 41 international students from everywhere; Top 65 UK Rankings 49 44 Ravensbourne College of Design and Communication UK now, the students are mostly from the Source: University Guide: League Table for Swansea region and South Wales. This has Art (the study of and training in drawing, Figure 7: Top 50 Global rankings changed the atmosphere.” sculpture, printmaking and other media), Guardian, 2018 Source: QS World University Rankings

41 Note the League Tables inclusion criteria differs depending on the industry body undertaking the ranking. (e.g. Royal College of Art in London is recognised by several league tables as the leading arts and design university in the world (see Figure 39 Creative Industries Federation and Arts Council England, 7); but does not appear on the League Table for Art as compiled How public investment in arts contributes to growth in the by the Guardian (Figure 6). The Guardian’s methodology creative industries (2015) “concentrates on subject-level league tables, ranking 40 https://www.theguardian.com/culture-professionals- institutions that provide each of the subject areas, network/culture-professionals-blog/2014/may/12/creative- so small or specialist UK universities that teach a limited range industries-education-mcqueen-ive-emin of subjects are not ranked in the overall league.”

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 42 July 2018 Supply: Visual and Applied Arts Ecology

Welsh art schools and universities are not some universities developing cross- Emerging Artists This includes Cardiff-based artist Kelly currently ranked in the top 50 Art and disciplinary networks through research Qualitative research and consultation Best whose work is attracting interest and Design schools globally, or in the top ten in projects between lecturers, students and suggests that artists graduating into and/or attention as a result of her show, Sunder the UK (Figure 6 and 7) and in recent years, arts organisations – which of course may beginning their career in the art scene are at g39: the axing of Newport’s Fine Art degree, not be reflected in rankings. For example well supported by the existing Welsh visual for example, has led to the loss of expertise MOSTYN and the School of Creative Arts arts infrastructure. The vast majority of [talking of developing works with Mark in the field. Research Centre at Wrexham Glyndwˆr Welsh artists consulted agreed that there is Houghton] “g39 in Cardiff gave us our first University co-funded a PhD on digital “significant gallery support for emerging opportunity to work together during their “[The visual arts sectors’ relationships with media and museum and engagement, artists” and that “directors and curators are Unit(e) season. We spent the two months university] is an area that needs focus. which aims to identify ways in which digital good and accessible.” Many stated that working in a very free and experimental Cardiff University is renowned for research technology transcends conventional they could access opportunities from environment, with both the encouragement but not in visual culture. Places like Newport structures of programming, display and bodies such as Arts Council of Wales to and critical voice of the other artist, as well [that did] research in documentaries, film engagement. 44 fund projects, through programmes such as from the people at g39.” 45 and photography closed down. We’ve lost as Creative Wales Awards and Creative something as a result.” Artist There are also a number of successful, Wales Fellowships, in which approximately Glynn Vivian dedicated one of its galleries practising Welsh artists working as 15 artists (writers, musicians and visual and to the Swansea Open 2017, an annual That said, there have been some recent lecturers within the Welsh Art Schools, applied artists) are given funds, space and exhibition open to artists and makers who triumphs. In the 2018 Guardian University including Cymru yn Fenis / Wales in Venice time to creatively experiment and research live and work in the City and County of Guide, Aberystwyth has climbed 41 places 2011 artist, Tim Davies, who is currently to inform their future practice. 2016/17 Swansea. This exhibition showcases a wide to 10th in art subjects and Cardiff Met has Professor at Swansea College of Art, beneficiaries included artists such as variety of works across a broad range of risen from 36th in 2017 to 15th in Design alongside cross-media artist, Holly Davey ceramic artist Adam Buick, photographer mediums including painting, drawing, and Crafts subjects. 42 The opening of the and Professor Sue Williams. Performance and video artist Richard Billingham, sculpture, photography, printmaking £5m Centre for Creative Industries at artist and painter, Professor Andre Stitt and cross-media artists Holly Davey, Jeanette and film. Glyndwˆr University in 2011 caters for cross-media artist and current artist in Orrell and Rhian Hâf. several hundreds of students annually and residence at St Fagans, Sean Edwards In its exhibition Portal 2016, Llantarnam provides a stimulus to the development of teach at Cardiff School of Art and Design Arts organisations also offer strong Grange Arts Centre featured the work of private and spin-out businesses associated and ran the 2008 Warp programme at g39. support to emerging artistic talent. the year’s top UK graduates in the applied with the creative industries. 43 Sean Edwards is representing Cymru yn For example, Ruthin Craft Centre is an arts. The curatorial team travelled the UK Fenis / Wales in Venice at the 58th advocate of Creative Wales makers and to select the best of that year’s graduates, Our research has confirmed that there are International Art Exhibition, the Venice facilitating the international dimensions of searching for those who were pushing the pockets of innovation and excellence, with Biennale in 2019. Creative Wales Ambassadors. g39’s Wales boundaries while maintaining and Artist Resource Programme (WARP) developing the traditions of their craft. supports artists developing careers and The One Year On section of the exhibition 42 https://www.theguardian.com/education/ng- interactive/2017/may/16/university-league-tables-2018 encouraging them to experiment and also brought back a number of the previous 43 Fourth Street: Experts in Place, Business Plan for OW, 44 https://www.mostyn.org/news/post-graduate-opportunity- translate this into exhibition programmes. Wrexham County Borough Council (Nov 2015) digital-curator-media-and-content 45 http://youngartistsinconversation.co.uk/Kelly-Best

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year’s graduates to show how their work “Artists have shown in almost all the Established Artists studio remains to this day. He is has evolved since they finished their galleries in Wales… it becomes too narrow.” A number of the most commercially represented by Annely Juda Fine Art, degree courses. Established Artist successful artists born, living or working in a London-based gallery. Wales are represented by galleries outside Mid-career Artists This is exacerbated from lack of sufficient of Wales or have shifted their practice Some of the more established artists Qualitative evidence suggests that many funding: beyond the borders. To name but a few, consulted stated that they elected to return emerging artists subsequently leave Wales Swansea-born artist, Dan Rees is to Wales in part in order to raise the profile by the time they have reached their mid- “The exhibition and production budgets in represented by Tanya Leighton Gallery in of Welsh artists outside of Wales. career, most commonly relocating to larger Wales are relatively small, Welsh artists tend Berlin, where he relocated before recently urban areas such as London and Bristol, to have to work outside of Wales to make moving to London; the work of Cardiff-born “Artists in Wales have more exposure than where there are more opportunities for major new works. There is simply not Laura Ford, based in London, is they used to 15 years ago.” Established Artist exhibitions, gallery representation and enough funding to commission major new represented in collections around the world visibility. Once artists have moved away work from public funds outside of initiatives including those held by Tate, V&A and Some interviewees suggested that on from Wales, many cultural professionals such as Wales in Venice.” Visual Arts Curator MoMA as well as exhibited in a wide range returning to Wales, visibility as an artist interviewed suggested it was hard to entice of Welsh venues; and interdisciplinary substantially reduced, and that they were them back. Despite this exodus and the funding German-Welsh couple Manon Awst and struggling to reach the number of studio constraints, the national institutions aim to Benjamin Walther have lived and worked in visits, from dealers and collectors, that they “The orthodoxy is to support emerging support artists at this stage in their career. Berlin and Wales. would expect. artists, actually very few pay attention to This support is further demonstrated on a mid and late career.” Artist national level where more established “Artists have continued to move to Berlin “I made a point of moving back to Wales. Welsh artists and makers are actively because there is a creative vibe, spurred on But I have had a handful of studio visits in While the overall visual arts and applied collected by the national institutions, by cheap studios and independent galleries. the last year; in London I would be getting arts ecology is diverse, mid-career artists Amgueddfa Cymru and National Library There are opportunities there. Collectors substantially more in a month.” felt that they had exhausted the Wales. For example, National Museum aren’t based there, but they see a creative Established Artist opportunities presented by venues Cardiff’s exhibition, Fragile? (2015) energy and come from elsewhere in the in Wales relatively quickly. showcased commissions (by The Derek world.” Contemporary Art Auctioneer “Glasgow has a great art school and around Williams Trust), and associated films it young galleries developed to promote “In Cardiff and Wales it is hard to find showing the making process, from four Event’s consultation with artists and arts artists, who then got picked up further spaces to populate. Other cities have many Welsh artists, Adam Buick, Claire Curneen, organisations has shown that only a small afield.” Arts Leader more ‘iconic’ galleries. Cardiff and Wales are Lowri Davies and Walter Keeler, alongside number of high-profile established artists lacking. From an artist’s point of view, once ceramics from the national collections and stay or return to Wales, including Bedwyr “How can Wales attract international artists you’ve shown in one you’ve done it.” loans from artists and institutions including Williams and Kevin Sinnott. Following his and creatives if the best artists are leaving?” Mid-career Artist the V&A. As part of the show Amgueddfa art course at Kingston School of Art Gallery Director Cymru commissioned major new work by English-born David Nash settled in Wales Keith Harrison and Phoebe Cummings (Blaenau Ffestiniog) in 1967 where his supported by Colwinston Charitable Trust. National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 44 July 2018 Supply: Visual and Applied Arts Ecology

Art School Student

Emerging Artist

Established Swansea Open 2017: Glynn Vivian Gallery, Artist Swansea Shani Rhys James, This Inconstant State, Connaught Brown exhibition, London Source: Event, April 2018

Mid-Way Artist

Figure 8: Artists Professional Cycle Source: Event, February 2018

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Artists Professional Cycle 3. Providing more spaces and opportunities – in existing venues, To spark, nurture, retain and attract new non-traditional venues and the creative talent to Wales, the artists’ landscape – may help to retain home- professional cycle needs to be both grown mid-career and established better understood and resourced at Welsh artists. each key stage of an artist’s career. Any new National Contemporary Art Gallery 4. Opportunities to nurture creativity in the should strengthen the talent pipeline for non-artist, using contemporary art as a Welsh professional artists. This would muse, vehicle for discussion, or starting be best achieved by the new national point could be explored. gallery being co-developed with art schools, universities and artist networks. 46

2. Contemporary artists across their professional careers – emerging, mid and established – would welcome more and varied spaces in which to develop and showcase their work. For some artists, new platforms enabling them to share their creative process would be a compelling opportunity.

46 The benefits of linking this both physically and intellectually with any new entity is well-documented. Most recently, this has been seen in the redevelopment of Kings Cross Granary Square in which St Martin’s College campus is situated: “The importance of the art school cannot be overstated. To have young, interested students wandering through the site every day can only be a good thing… .” (Nathan Brooker) This does not necessarily mean the new entity should be part of an existing university campus in the same way as, for example, The Science Gallery, Trinity College, Dublin, which hosts a programme of exhibitions, workshops, events and talks with a view to science outreach and art-science collaborations. But some artists emphasised that the contemporary art gallery “needs to be built around places with young students and universities and cultural needs…” to ensure it continues to invest in emerging talent.

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 46 July 2018

Implications1. and Opportunity Tania Bruguera, Tatlin’s Whispers #6 (2015). Site specific performance at National Museum Cardiff. Image courtesy the artist. Source: Getty Images Supply: Visual and Applied Arts Ecology

Content and Collections The Derek Williams Trust has been “The fact that his work was not represented “We certainly want a place which could be a dedicated and eminent patron to in the Wales’ national collection has been full of excitement in showing contemporary Amgueddfa Cymru and continues to work a huge gap that the Museum has been and modern art. Everybody who wants that closely with the Museum to collect post- anxious to fill for many years. The Great wants to see how it fits in with the existing 19th Century fine and applied art. The Trust Works award has given us a unique scene, with existing galleries which are supports the museum in its purchases and opportunity to acquire a major work by offering strong things. And we want to be purchases art for its own collection. The Cerith that has been specifically developed clear about exactly how existing collections latter are curated by Amgueddfa Cymru for the spaces of the Museum… [it’s] relate to the showing of new work. So the and includes approximately 260 works a stunning addition to the collection.” 49 main question, I think, is whether this gallery loaned to the Amgueddfa Cymru, including Nicholas Thornton, Head of Fine Art, is about showing temporary exhibitions with artists such as David Jones, Henry Moore, Amgueddfa Cymru new focus, new work and also an Lucian Freud, George Shaw, Howard international reach. Or whether it also Hodgkin and Anthony Caro. Equal emphasis is put on the development includes the collection of modern and of a varied and vibrant contemporary crafts contemporary art that’s already built up” 47 Over recent years, Amgueddfa Cymru has collection, which includes works by self- Phil George, Arts Council of Wales focused its attention on developing its taught Welsh potter Phil Rogers and Welsh contemporary art and craft collections, potter Beverley Bell-Hughes. More recently, The national art collection, cared for by the with the aim of incorporating a wider body the Contemporary Art Society acquired Amgueddfa Cymru, comprises 46,526 of works including film, performance, selected pieces by Simon Carroll (1964- works. This comprises 11,614 applied photographic, mixed media artworks. 2009) for Amgueddfa Cymru. artworks; 32,300 works on paper And now approximately 25% of the (watercolours, drawings, prints, national art collections is by living artists. The National Library Wales’ also boasts an sketchbooks and albums); 1,924 oil Most recently, through the support of the impressive modern and contemporary art paintings; 641 sculpture; 47 new media Contemporary Art Society in London, it has collection, which includes 950,000 photos including film and video. Approximately acquired a large-scale neon sculpture by (800,000 connected to Wales) and 60,000 60% is modern and contemporary art internationally acclaimed Welsh artist, works of art (including 4000 framed items, works (1900 – present day). 48 Additionally, Cerith Wyn Evans. 8,000 mounted items and over 500 there are 5,149 relevant modern and Drawing Volumes). The collection includes Who Decides? Open Store, National contemporary textile, dress and furniture works by well-known artists such as Museum Cardiff items at St Fagans National Museum Augustus John, Gwen John, David Jones, Source: Event, February 2018 of History. Evan Walters, John Elwyn, Brenda Cerith Wyn Evans, Radiant fold (…the Chamberlain, John Piper, Claudia Williams, Illuminating Gas), National Museum Cardiff 47 http://www.bbc.co.uk/news/uk-wales-39352607 48 This bias is reflective of the visual arts in Wales and the age Gwilym Prichard. Alongside, this there is Source: Event, April 2018 of the institution – Amgueddfa Cymru was established in 1907 – so there is not a large number of Victorian or Old Master paintings compared to other large collections, such as Walker 49 http://www.contemporaryartsociety.org/news/cas-news/ Art Gallery, Manchester Art Gallery, Whitworth and Birmingham major-new-installation-cerith-wyn-evans-unveiled-cardiff/ City Museum and Art Gallery. 47 Supply: Visual and Applied Arts Ecology

a wealth of content in the digital archive Development of a Contemporary money, resource and expertise, means that Many interviewed also argued that there including 150,000 hours of sound and Collection organisations have to prioritise and invest needs to be more opportunities for 7,000,000ft of film and 250,000 hours Building and preserving a collection is in programmes or build their collections – commissioning (new works), emphasising of video. typically a critical and defining part of a not both. The benefits of focusing on the reactionary nature of acquiring art that national art gallery’s remit. The importance inclusive programming were characterised already exists. Commissioning would Together these two national collections of this function, to collect and preserve the as a worthwhile investment that builds enable the sector to support the artists provide a sound base from which any new finest examples of a nation’s recent and audiences, and positively, and relatively born, working and living in Wales, as well as National Contemporary Art Gallery Wales living creative output, was echoed in the immediately, impacts on living artists’ integrate the work of international artists can draw. However, only Amgueddfa Cymru Local Museum Provision Wales (2015) careers and on their communities. into a current, live dialogue for, about and has a remit to represent the full diversity of report, which called for the establishment with the nation and its connections to contemporary artistic practice in Wales of a new organisation, Collection Wales: One cultural specialist explained how tight other nations. (including installation and video art) and are the collecting budgets are today: the only institution with a remit to collect “Welsh Government should put measures “Excellence in contemporary art, reflect international art. A number of consultees in place to establish Collection Wales, which “before austerity hit there was a substantial Welshness and Welsh aspirations, be emphasised that many of these collections will rationalise develop and safeguard purchasing budget… at other venues, none forward looking. It should not just be about are not seen by the vast majority of people collections of significance to the histories of them have big budgets… Newport existing collections dotted around Wales, in Wales, either because they are held in and cultures of Wales.” Museum, Glynn Vivian [Art Gallery] used to but about commissioning new the stores due to lack of exhibition space have a lot going on… A purchase award was works and exploring dynamic approaches (as previously discussed) or because they However, perhaps surprisingly, many set up for Glynn Vivian to support annual to art. Rooted in artistic contemporary are not shown widely around the country. interviewed for this study did not view purchases… around £1,500.” excellence. It should have international collecting as a priority for any new National standards.” The Amgueddfa Cymru Outreach Art Contemporary Art Gallery Wales. The Yet most interviewed recognised both the Collection – comprising over 500 paintings, arguments against creating a collection longer-term risk in not collecting and the “A by-product of working with contemporary drawings and prints – enabled school ranged from a practical stance about the halo benefits enjoyed by those institutions artists is the opportunity to secure new children in Wales to access museum opportunity costs (i.e. the high cost of that do collect. A permanent collection can acquisitions. Can it be worked into an objects regardless of where they lived. collecting over exhibiting, or collecting lead to “currency with other museums arrangement with the artist?” However this was suspended in 2011 and over creating vibrant, social-engaged through loans and exchange agreement” Gallery Director the Collection is no longer available programmes) to the more philosophical and Contemporary Art Auctioneer; a more on loan. conceptual (contemporary art should be sustainable institution over the long term; Finally, most argued that the relationship live, and of the here and now). and a legacy from this period in art: between the nation’s own permanent collection and frequently changing Many visual arts organisations in Wales are “There is a danger that if anyone comes temporary exhibitions positions Wales forced to grapple with this either/or along in 50 years’ time, there will be nothing effectively in the market to both receive and decision on a regular basis. Current there, or very little. Collecting is essential.” provide international touring exhibitions. capacity challenges, including lack of time, Independent Curator In turn and over time, this develops

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 48 July 2018 Supply: Visual and Applied Arts Ecology

contemporary art audiences and provides history and society, and within a global “What Wales doesn’t need is an echo- a legacy for future generations. picture, highlighting the nation’s culture and chamber for the Welsh – Welsh artists identity in relation to others. created Welsh art for Welsh artists…” “A new space should have a contemporary Curator collection – collecting spaces and changing “I want to see my art in a continuum.” Artist exhibitions. We need that in order to have a platform or stage for international “There is strength in depth. We should contemporary art to come to Wales, exploit the strength of the [National] so that it helps to exchange exhibitions Museum’s modern and contemporary art. to other places. At the moment this is Dialogue is important… the depth and piecemeal, organised by artists groups.” richness of dialogue is much more Artist educational and cultural if you have both.” Arts Leader Interpretation of Collections An overwhelming majority interviewed David Anderson, Director General of stated that Wales suffers from “a lot of Amgueddfa Cymru, said: preconceived ideas with regards to art. It assumes 19th Century disciplines.” “There is an appetite from our visitors to Arts Leader experience work by artists living and working in Wales today, and by Welsh artists Many argued that contemporary practice who work outside Wales.” was shifting away from the established approach of defined art forms, and instead “We need to think about fusion of cultures moving toward embracing mixed media, rather than hegemonic culture.” Artist and in some cases, seemingly uncollectable artworks. “We shouldn’t focus on the binary – either this or that (Welsh artists or international, “Contemporary art blurs boundaries. local or international)” Gallery Director Collection storage, Glynn Vivian Gallery, It naturally crosses disciplines. It is not Swansea split into film, performance, sculpture – Consultees highlighted that the National Source: Event, 2017 it can be all of them.” Gallery Director Contemporary Art Gallery Wales was well positioned to explore wider national and Qualitative research highlighted the desire international trends, issues and challenges for Welsh art and artists to be shown in a in and through contemporary art practice. broader context – within the canon of art

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Content and Collections 3. The national collection can be further developed through a more ambitious For any new National Contemporary Art commissioning programme. Such a Gallery Wales there is a desire for both programme would result in a collection permanent and temporary art that is characteristic of Wales alone, exhibitions to: capturing a distinctive moment in the • showcase the breadth and variety of nation’s art and history. living artists works; • enable access to and display of the 4. Collecting the best of contemporary art modern visual and applied arts and design ensures Welsh collections (post-1900s) so that a contemporary life and creativity is variety of narratives can be developed preserved for future generations. to frame, support and explore contemporary art in a longer continuum; • include Welsh, UK and international artists and crafts people’s work and encourage dialogue between them.

2. There is a requirement to provide greater and more democratic access to the two Welsh national collections for the diverse audiences across Wales and ensure collections currently in stores can be viewed more readily. The contemporary art collections are of and for the people of Wales. Peter Finnemore, Signalman, 2004 Source: Peter Finnemore Laura Ford, Scheffel exhibition Source: Laura Ford James Richards, Not Blacking Out, Just Turning The Lights Off, 2011-2012 Source: Courtesy the artist and Chapter; Photos Mark Blower

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 50 July 2018

Implications1. and Opportunity Demand: Audiences

“But how, then, are the great masses to be given access to their cultural inheritance? A few, but only a few, can travel about the world visiting all the museums making their pilgrimages to the sanctuaries. Only a few museums, here and there, can have collections, which are remotely representative even of the elements of the great cultural traditions.” Walter Lippman ‘The Museum of the Future’, Atlantic Monthly, 1948

“It is extremely important that contemporary – and the total market sizes and per annum. With the opening of the West visitors are attending their temporary art from Wales and from around the world – characteristics are included in Appendix 5. Wing (housing the contemporary art contemporary art exhibitions (Figure 9). both popular and unfamiliar – is shown in Main sources include VisitWales’ Wales collection and temporary contemporary art fresh ways to as many people as possible.” 50 Visitor Survey 2016 Report and official exhibitions), National Museum Cardiff Data from 2015-16 finds that visitors to David Anderson, Director-General, Amgueddfa statistics collated by Welsh Government. experienced a bump in visitation in 2011/12. Amgueddfa Cymru sites have become Cymru The National Museum Cardiff has more upmarket since 2012-13, with three Existing Visual and Applied Arts experienced a five-year average of 471,744 times as many Welsh visitors in the affluent The timescale and scope for this Study has Audiences visitors per year, with 2015-16 and 2016-17 demographic (AB) than DE. This is in not permitted primary market research or Our consultations have shown that there is seeing visitors grow to 490K. During inverse proportion to the population of public consultation to be undertaken. a shared view among the arts and culture 2015-2016, 57% of visits to the National Wales. Non-white visitors are under- Findings and recommendations with sector that since the opening of the West Museum Cardiff were repeat visits, represented at the National Museum regards to audiences and behaviour are Wing and establishment of Artes Mundi, with visitors coming 4.4 times a year. 52 Cardiff, in comparison with ethnic profile of based on secondary research, an audience for contemporary art has local population. The current analysis consultations with arts and cultural developed and remains stable. 51 Amgueddfa Cymru’s data stresses that of would benefit from data collection organisations with direct knowledge of the total visitors to the National Museum establishing crossover visits to other parts their audiences, and our experience in the “Artes Mundi has helped to develop a Cardiff, 19% thought the art, paintings, of the museum; audience’s motivations for arts and culture sector. contemporary art audience with no capital galleries were the most inspiring part of visiting; the extent of repeat visitation to the expenditure... The audience has been their visit (as compared to 21% finding the art galleries in contrast to first time visits The following sections provide a summary developed considerably.” Arts Leader animals/dinosaurs to be so). 53 The reported (and the differences in experience, if any); of what is known about the current visual daily visitation to the existing National and a population survey to better and applied arts audiences in Wales and This is echoed in the available data. Museum Cardiff’s contemporary art understand barriers to access. any gaps in this material. More detail of the According to the Visitor Profile Survey galleries is in the region of 450-550 visits identified key markets – resident market, 2015-2016, visitation across the seven per day, a large percentage of these daily Across the visual arts sector, there is UK day, UK stay and international tourists Amgueddfa Cymru sites has remained level minimal information showing cross-venue

over 10 years, with an average of 1.6m visits 52 Amgueddfa Cymru – National Museum Wales Visitor Profile trends and patterns in audience behaviour. 50 Huw Thomas, National modern art gallery planned for Survey 2015-2016 While Amgueddfa Cymru data shows that Wales, BBC (23 March 2017) 51 Amgueddfa Cymru – National Museum Wales 53 Ibid

51 Demand: Audiences

2015-16 visitors have visited other heritage Name Location Open Close Museum Visits Exhibition Total Days Avg/Day % Conversion sites in Wales – with the highest level of – all years Visits – Open cross-over with the National Trust and all years Cadw (Welsh Government’s historic Artes Mundi 7 g19-21 21/10/2016 26/02/2017 159,571 41,521 107 388 26% environment service). There is no data available about cross-over visitation Bacon to Doig g14 18/02/2017 31/01/2018 536,703 111,976 328 341 21% between visual arts organisations. Swaps g18 30/09/2017 15/04/2018 252,153 49,757 168 296 20% Who Decides? UWW 28/10/2017 02/09/2018 292,666 77,343 215 360 26% The available data shows that there has been no consistent pattern to visit numbers Figure 9: Number of visits to four of the at arts organisations across Wales over the Modern and Contemporary Art temporary past five years (Figure 10). Where there has exhibitions at the National Museum Cardiff, been a decline in visitation to individual 2016-2018 venues in the last five years, this can be Source: Amgueddfa Cymru, July 2018 explained in some cases by closure during refurbishment or construction, for example Glynn Vivian Gallery 54 and Tˆy Pawb, and by the introduction of admissions charging at Cyfarthfa Castle. Additionally, Artes Mundi’s variance in number of visitors is largely due to the change in scale of the exhibitions. For example in 2016/17 the exhibition was at two venues, whereas in 2014/15 it was located across three.

While there are some gaps in the available data at each of the arts venues across Wales, there are some clear examples of Figure 10: Number of visits per annum at increasing visit numbers at key sites (Figure a sample of arts venues across Wales, 10). Attendance figures, collated by Arts 2012-2017 (Please note this is a non- Council of Wales, show increases at g39 exhaustive sample and includes (2,846 in 2012/13 to 4,754 in 2016/17), approximate figures only. For organisations in Arts Portfolio Wales, figures are taken from Arts Council of Wales from Annual 54 The dramatic increase in number of visits in 2014/2015 was Surveys) the result of a citywide sound project that Glynn Vivian ran, Source: Arts Council of Wales and Event, which happened in pubs, shopping centres, market, museums, parks etc. April 2018 National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 52 July 2018 Demand: Audiences

Arts Organisation Number of Visits

2012/13 2013/14 2014/15 2015/16 2016/17

Artes Mundi (multiple venues) 65,000 N/A 89,000 N/A 73,000 National Eisteddfod of Wales 153,704 143,502 150,776 140,297 147,498 MOMA Machynlleth - 19,619 21,354 - - National Library Wales – Galleries 77,500 84,530 79,545 86,406 75,208 Newport Museum and Art Gallery 59,399 51,084 34,582 28,259 29,373 National Museum Cardiff 477,399 448,288 446,635 491,880 494,518 Oriel Myrddin - 22,839 19,910 25,000 - Plas Glyn-y-Weddw 134,750 127,645 140,880 123,567 144,221 Arts Organisation in Arts Portfolio Wales Attendance to Exhibitions 2012/13 2013/14 2014/15 2015/16 2016/17 Aberystwyth Arts Centre 176,824 164,138 178,198 151,883 110,009 (Venue Total 854,978) (Venue Total 706,181) (Venue Total 692,382) (Venue Total 650, 531) (Venue Total 666,934) Chapter Arts Centre 85,956 162,135 183,326 185,049 191,712 (Venue Total 794,868) (Venue Total 794,104) (Venue Total 798,216) (Venue Total 801,255) (Venue Total 808,493) g39 2,846 3,019 6,706 4,274 4,754 Glynn Vivian 18,140 8,805 51,884 17,048 71,750 Llantarnam Grange 126,577 116,865 154,129 178,142 151,013 Mission 29,584 34,133 40,813 88,676 31,386 Oriel Myrddin 27,493 28,217 21,899 20,982 24,141 Ruthin Craft Centre 89,069 77,747 75,419 67,352 73,608 Ucheldre 32,872 26,642 36,486 45,295 49,334 Pontio 260 260 0 0 0 Pontardawe 2,160 3,240 2,880 1,080 1,800 Oriel Davies 115,500 149,906 133,194 167,976 179,031 MOSTYN 253,782 142,273 369,379 376,512 288,227 Ffotogallery 87,900 71,530 57,285 93,970 84,550 Arts Connection 12,940 18,970 14,085 4,650 2,450 Artis Community 1,680 750 2,599 4,020 791

53 Demand: Audiences

Oriel Davies (115,500 in 2012/13 to 179,031 “We track visitor numbers with door Of the total participatory art sessions Cymru’s 2015-16 analysis further in 2016/17), MOSTYN (253,782 in 2012/13 counters, however, this isn’t as accurate as delivered, 37,953 were specifically for demonstrates that young people (16-24s) to 288,227 in 2016/17) and Ffotogallery it could be. We aren’t using a digital system children and young people, while 26,105 are under-represented among individual (57,285 in 2014/15 to 93,970 in 2015/16 and we don’t know why people have come.” were delivered as general participatory visitors, accompanied by a decline in and 84,550 in 2016/17) among others. Gallery Director sessions. 60 Of these 7,543 were proportion of families with children visiting It is worth noting that some of this data specifically targeted at people in the all museums. Amgueddfa Cymru has used incorporates attendance outside of the The Arts Portfolio Wales Organisations Protected Characteristics groups. 61 this data to rework the Gallery’s education home venues, for example Ffotogallery’s Survey (April 2016 - March 2017) 55 reveals programme, including through the variance in attendance reflects attendance that across the 67 portfolio sites (and Arts Council of Wales’ annual attendance recruitment of a creative team to revamp at the Diffusion festival over two years and includes exhibitions, film screenings, participation survey found that “adults aged the Young Curators Forum and wider last year includes both Diffusion and Cymru performances by touring companies and 35-44 are more likely than any other age programming, the schedule upcoming yn Fenis attendees as Ffotogallery curated performances at presenting venues) the group to attend an arts event at least once survey (2018-19) may demonstrate the gallery for Helen Sear’s exhibition. highest levels of attendances were made a year (94.9% respectively) and those aged a positive shift in these figures. to exhibitions of visual arts and crafts, 65+ recorded the lowest level of A rise in attendance can be seen at receiving 1,761,625 attendances. This is attendances at 60.4%.” 62 Amgueddfa Other than the data collected by Arts

Chapter Arts Centre (85,956 in 2012/13 to not an insignificant figure given that the 60 Ibid Council of Wales there is very little 191,712 in 2016/17) Plas Glyn-y-Weddw population of Wales is in the region of 3.1m. 56 61 Protected Characteristics as defined by the Equality Act available, with the exception of the 2010, include disabled people, people from a BME background, (134,750 in 1012/13 to 144,221 in 2016/17) children and young people, lesbian, gay or bisexual people, Audience Agency’s research (Welsh and Llantarnam Grange Arts Centre Visual arts and crafts remain the most pregnant women and new mothers, people with specific postcode data) from 2012 that shows that religious beliefs and transgender people. The groups are not 126,577 in 2012/13 to 151,013 in 2016/17). popular participatory art form with a mutually exclusive and therefore people can be included in more at that time 18% of the population visited These cross arts venues can offer quarter (25.4%) of adults in Wales taking than one group. an art gallery once a year, with only 1% 62 2016 Wales Omnibus Survey: Report on Main Findings, Arts 57 changing exhibitions, learning programmes part at least yearly. This art form Council Wales, 2016 visiting an art gallery at least once a month. and in some cases film screenings and/or experienced the greatest increase performances, as well as providing a good compared with 2015, (up by 0.8 percentage Region Visited an art gallery Visited an art gallery catering offer to attract a wider and more points). 58 64,058 participatory arts once at least once a regular, repeat audience. However, the sessions were delivered, with 1,103,436 (Adults 15+) month 59 overall data does not demonstrate whether attendances made to these workshops. Wales South East 16% 1% the primary reason for visiting was the Wales North 18% 1% contemporary art exhibition or the galleries 55 The Arts Portfolio Wales Organisations Survey (April-Sept 2016/17 and Oct-March 2017) Wales South Central 18.8% 1.1% at all or whether this was merely incidental. 56 Office for National Statistics 57 The question asks: “About how often these days, if at all, South West 18% 1% do you take part yourself in your leisure time in visual arts and crafts, for example painting, sketching, computer graphics, Figure 11: Percentage of people within the pottery, wood-turning, jewellery making, weaving, textiles, knitting or sewing.” Welsh regions who have visited an art 58 The Arts Portfolio Wales Organisations Survey (April-Sept gallery 2016/17 and Oct-March 2017) 59 Ibid Source: Audience Agency (2012)

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 54 July 2018 Demand: Audiences

As a proportion of the Wales population • Tourism research by Welsh Government Portfolio Wales organisations to capture it is relatively evenly spread across all the and Visit Wales is comprehensive and in and report their audience data, the regions (Figure 11). line with the wider UK’s data. However, equivalent to Arts Council of Wales’ there is little data associated with cultural Audience Insight system for ticketed It is not possible to state with confidence (visual and applied arts) tourism; venues. This is an exciting step. that these figures collectively demonstrate a demand or a lack of demand for • Tourism materials do not currently The Welsh visual arts sector recognises contemporary art. The visual arts sector as promote contemporary art and this is that as digital natives grow into adults, a whole does not fully understand its likely to have an impact on visit numbers with purchasing power and limitless digital existing or potential markets. Consultations and visitor types. choice, the entire visitor experience and secondary research for this Study have (including pre and post visit) needs to shown that: During the course of this Study, Arts proactively consider digital opportunities. Council of Wales, in conversation with A lack of capacity and expertise in the • Barriers to accessing contemporary art Visual Arts Galleries Wales (VAGW), Welsh visual arts sector means there is Paul Granjon, Am I Robot, Festival Season, in Wales have not been qualified or asserted that there are inconsistencies in little flexibility to be able to experiment with MOSTYN. September/October 2016. quantified in existing research, including the audience data and has questioned how new digital opportunities beyond a Source: Mark McNulty lack of marketing and joined-up well organisations understand their functioning website. That said, g39 has marketing between venues geographical audiences. Currently, Visual Arts Galleries recently undertaken R&D in audience data access, feeling that the visual arts are Wales (VAGW) is undertaking a research collection and there are other galleries elitist, 63 increased competition for leisure project for Arts Council of Wales: experimenting at an organisational level, time and admissions charging; including MOSTYN (as outlined earlier). “to see how the situation can be improved • There is no publicly available data on the for individual organisations and the sector The New Art of Finance report by Nesta cross-over within or between sites or as a whole in order to make the visual and articulates, in other sectors, there is a repeat visitors. There is little to no applied arts sector more resilient, tradition of public funding to support risky information about how much audiences responsive, enterprising and profitable by R&D activities that generate socially overlap between visual arts venues and using innovation in audience insight to valuable insights. However, there is a lack how their attendance compares to other inform programming and marketing.” in R&D funding for organisations to explore leisure activities, including those activities new models of audience engagement, outside of the arts (e.g. gaming; Netflix); This work has emerged from g39’s which may give rise to new forms of partnership with Golant Media Ventures, cultural value. 64 • There is no comparison of figures to the as part of Nesta, Arts and Humanities population size (i.e. penetration rates) or Research Council’s Digital R&D Funding, comparison to peer arts councils in the UK; to design a system for collating audience insights. The platform will enable Arts 64 The Art of Finance, Making Money Work Harder for the 63 Office for National Statistics Arts (Nesta, July 2014)

55 Demand: Audiences

Creative Learning Encouragingly, there is a palpable desire by to the envy of creative sectoral activists • Criw Celf is a pan-Wales organisation “At the heart of the Industrial Revolution was policy-makers, galleries and educators to and educators in other nations where the that provides masterclasses to children the steam that drove the industrial engines encourage school aged children into the STEM (Science, technology, engineering who have shown talent and/or a special of the 18th and 19th centuries. Steam galleries across Wales, and to ensure and maths) subjects are being prioritised interest in art, in order to develop their continues to drive the turbines in many of children and young people have ample over STEAM (Science, technology, skills and experiences. Imaginatively the power stations that generate the opportunities to ignite and cultivate their engineering, arts and maths). 65 As the expanding children’s understanding of electricity on which we completely depend. own creativity. Cultural Learning Alliance describes, the definition of what art is and can be, But it is steam of a different sort that is ‘STEAM is about the vital interplay between children create alongside professional powering the industrial revolution of the 21st “There is already a rich and varied arts and – and having a parity of esteem for – artists in a variety of different gallery and century – STEAM in the form of science, cultural offer available across Wales. The science, technology, engineering, arts and site-specific settings. Originally technology, engineering, arts and challenge is in making that more widespread mathematics.’ conceived and piloted by Gwynedd mathematics.” Sir Mark Walport, Government and more relevant to schools.” Professor Dai Council in 2007, the programme has Chief Scientific Adviser, Times Higher Smith, Arts in Education in the Schools of Programmes that have national and local scaled strategically, and now operates Education (Feb 2017) Wales, 2013 reach include: bespoke models in partnership with local authorities and organisations, including “We’re moving out of the information There is a dynamic range of creative • Creative Learning through the Arts – all North Wales local authorities economy ... we’re moving into an innovation educational opportunities being delivered an action plan for Wales published in (Gwynedd, Flintshire, Conwy, Wrexham, economy, where the demands on our across Wales. Many of the arts March 2015, the plan is jointly funded by Denbighshire, Powys, Ynys Môn) and creativity as human beings – that’s where organisations promote visual and media the Arts Council of Wales and Welsh Ruthin Craft Centre, Peak (South Powys), we’re going to see increasing value in the education and work with specialist learning Government, embeds creativity and the Oriel Davies (North Powys), Mission workplace.” Frazer Bennett, Chief Innovation agencies, schools, colleges, universities arts at the heart of learning through two Gallery (Carmarthenshire), Llantarnam Officer, PA Consulting Group, Today and support schemes. This commitment to linked strands of activity, The Lead Grange (Torfaen), Arts Active (Cardiff) Programme, BBC Radio 4 (15 May 2017) nurturing the next generation through Creative Schools Scheme and the and Neath Port Talbot. Funding is artistic expression and experimentation, All-Wales Arts and Education provided by local authorities and Arts “… In an age where anyone can produce while not to be instrumentalised, is key to Programme. Lead Creative Schools are Council of Wales; anything anywhere through 3-D printing, raising a generation of innovative, creative given the tools and resource ‘to nurture where anyone can broadcast their problem-solvers, whether they choose a and develop the creativity of learners so • Ffotogallery Wales’ outreach projects performance globally or sell to China profession in the creative industries or not. that they achieve their potential, grow as with schools and community groups whatever the size of their business, there is well rounded individuals and are prepared reached over 6,000 participants per an opportunity for mass employment With programmes being rolled out with skills for life’; 66 annum; 67 through mass creativity.” Mark Carney, nationwide in Welsh schools, this top-down

Governor of the Bank of England, Roscoe commitment coupled with ground-up local 65 STEM vs. STEAM: How the sciences and arts are coming Lecture, Liverpool John Moores University expertise and identity positions Wales at together to drive innovation, (The Independent, 25 May 2016); STEAM: Why Stem Can Only Take Us So Far, Cultural Learning (5 Dec 2016) the forefront of creative education. We Alliance Briefing Paper No. 1, Cultural Learning Alliance and 67 David Drake, Inquiry into the Accessibility of Arts and would suggest that this is likely to be much Nesta (2017) Cultural Activities in Wales, CC(3) AC 36 Response from 66 Lead Creative Schools Handbook (Oct 2015) Ffotogallery Wales (23 Sept 2010)

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 56 July 2018 Demand: Audiences

• Over 2016/17 Llantarnam Grange Arts place, language, local food and drink, “opportunities to enhance the experience of the arts are required to click through Centre facilitated 507 workshop and crafts, and music), or through specific visits visitors to heritage attractions, museums a minimum of four times before reaching participatory educational sessions at the to heritage and cultural attractions. and cultural venues to sustain their long any content related to the visual arts. arts centre and at other venues as part of The culture and heritage offer is a term viability.” 71 During this study the lack of arts was noted their outreach programme and during the significant contributor to the Welsh visitor by the relevant parties including the Welsh year 5,806 people took part in their economy. In 2011 (the most recent data The refreshed Wales brand strategy and Government, MALD and VisitWales. education programme. available), £146m was spent on holidays identity have been well received 72 and Opportunities for how this might be where culture was the main activity for the The Wales Way, VisitWales’ campaign addressed are likely to be considered. 74 Potential Cultural Tourism Market holiday, and £590m was spent on holidays launched in early 2018, showcases the The overall volume of visits to Wales in where a cultural activity was undertaken as stunning Welsh landscape and its historic The objectives of the Wales brand are to 2016 increased by 15% compared with part of the holiday. 69 assets, places to stay and eat. However, “elevate our status, surprise and inspire, 2015 – building on growth on the previous there is a striking lack of alignment change perceptions, do good things and be two years. The Office for National Cadw sites in Wales benefited from the between cultural tourism and VisitWales’ unmistakably Wales.” The values are to Statistics’ data shows the number of increase in visitors in 2016, welcoming 1.4m strategic investment in the sector, and its “curate, celebrate, create a Wales that is inbound tourists coming to Wales was up visitors to its staffed sites – an 8% increase newly launched marketing campaign, at once authentic, creative and alive.” 75 by 12% – to 856,000 in the first nine on the previous year and the heritage The Wales Way. 73 These are all relevant to any new months of 2016 – the biggest rise in the UK. organisation’s best year on record. 70 contemporary art entity. The tourism figures published by The three routes (Figure 12) in The Wales With tourists spending around £14m a day VisitWales, the national tourism body, Way campaign only highlight three whilst in Wales, amounting to around £5.1bn identify arts, culture and heritage are established visual arts organisations (Oriel a year, it is evident that tourism plays a among Wales’ richest deposits of wealth Ynys Môn, Cyfarthfa Castle and Art Gallery major role in the Welsh economy. There is and employment. and Oriel y Parc Gallery & Visitor Centre) an ambition to grow tourism earnings in on the map (of approximately 140 total Wales by 10% or more by 2020. 68 VisitWales has developed a unified and places listed). Yet, more than 25 well- contemporary Wales brand identity around established arts organisations lie on With its mix of heritage, culture and its landscape, with a focus on narratives or close to these routes (Figure 13). countryside being an intrinsic part of the about mountains, coasts, castles and More broadly, and underscoring the visitor experience, Wales has continued to sports. Heritage and culture are cited as department’s strategy, the VisitWales be an important destination for domestic a key focus for investment in the tourism website prioritises landscape, sport and and international visitors. Most visitors will product and as a way to build the Welsh castles. Users seeking information about come into contact with Wales’ culture narrative. It is outlined that there are during their trips (mostly by car) – either 71 Welsh Government, The Welsh Government Strategy for Tourism 2013 – 2020, Partnership for Growth, 22 through generic encounters (sense of 69 http://www.arts.wales/advice/advocacy-toolkit/ 72 Welsh Government, The Welsh Government Strategy for government-agenda Tourism 2013 – 2020, Strategy Progress Review (Nov, 2016), 12 74 As discussed with the Minister, Lord D Elis-Thomas 70 http://gov.wales/newsroom/culture-tourism- 73 http://thewalesway.com/ 75 http://walesthebrand.com/ 68 Welsh Government, The Welsh Government Strategy for sport/2017/170601-tourism-experiences-further-growth-in- Tourism 2013 – 2020, Partnership for Growth, 10 2016/?lang=en

57 Demand: Audiences

Figure 12: Wales Ways Source: VisitWales and Event, April 2018 National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 58 July 2018 Demand: Audiences

Arts Organisations Wales Way Arts Organisations Wales Way Arts Organisations Wales Way

1 Aberystwyth Arts Coastal Way 11 Royal Cambrian North Wales 21 MOMA Machynlleth Cambrian Centre, Aberystwyth Academy, Conwy Way Way 2 National Library Wales, Coastal Way 12 Ruthin Craft Centre, North Wales 22 Cyfarthfa Castle and Cambrian Aberystwyth Ruthin Way Art Gallery, Merthyr Way 3 Oriel y Parc Gallery & Coastal Way 13 Storiel, Bangor North Wales Tydfil Visitor Centre, St Way 23 Tenby Museum and Art Cambrian David’s 14 Canolfan Ucheldre North Wales Gallery Way 4 Oriel Glyn-y-Weddw, Coastal Way Centre, Holyhead, Way 24 Ffotogallery, Penarth Cambrian Pwllheli Anglesey Way 5 Oriel Brondanw, Coastal Way 15 Tˆy Pawb, Wrexham North Wales 25 Erwood Station Gallery, Cambrian Llanfrothen, Gwynedd Way Builth Way 6 Oriel Mwldan, Cardigan Coastal Way 16 National Museum Cambrian 26 Brecknock Museum Cambrian 7 Oriel Q, Narberth Coastal Way Cardiff Way and Art Gallery, Powys Way 8 Galeri Caernarfon Cyf, North Wales 17 Chapter, Cardiff Cambrian 27 Oriel Davies, Newtown Cambrian Caernarfon Way Way Way 9 Oriel Ynys Môn, North Wales 18 Craft in the Bay, Cardiff Cambrian Llangefni Way Way 10 Pontio, Bangor North Wales 19 g39, Cardiff Cambrian Way Way 20 MOSTYN, Cardiff Cambrian Way

Figure 13: Arts organisations on the Wales Ways Source: Event, March 2018

59 Demand: Audiences

Audiences as well as the diverse Welsh • Build buy-in for any concepts if the study strategic aims. Wales would benefit Implications and Opportunity communities within each of the regions. moves forward. from further destination management 1. Cultural tourists are an untapped and through a partnership approach to ready market that should be maximised. 3. The quantitative data highlights that This will help to assess the strength of managing places to ensure tourists have Given the small population of Wales and international, UK and Welsh families, the visitor market and its capacity to knowledge of and access to the arts the close proximity of the cross border young people and couples coming on support investment for any new entrant offer in Wales. markets in and around the West day trips and holidays are key into the sector and enable greater Midlands, the benefits of bringing audiences for any new national accuracy in forecasting. 6. There is a need to ensure that the together the cultural and tourism contemporary art entity. Yet it is unclear nation’s contemporary arts offer is sectors, and government agencies with what audiences’ motivations, 4. There is an opportunity for any new easily accessible to schools across the National Gallery of Contemporary expectations and desires around a model for the National Contemporary Wales. Art would not only help in the delivery of National Contemporary Art Gallery Art Gallery Wales to combine indoor Partnership for Growth: Strategy for Wales might be. Further nationwide and outdoor arts attractions, which link 7. There is opportunity for school-aged Tourism 2013-2020 in the short term, market research and analysis needs to closely to the different Welsh children and young people – our future but provide extended support for the be undertaken to fully understand the communities and the overall sense of artists, educators, patrons, investors, visual and applied arts sector, by existing and potential audience for the place. Moreover, given that tourists tend innovators, politicians, board members, increasing interest, footfall and income new national entity. This research to stay in Wales for a few days it is global citizens – to be active generation. should: worth considering creating connections participants, co-creators and between cultural sites. These collaborators in the conversation about 2. The National Contemporary Art Gallery • Characterise and segment existing and connections could be physical additions the role of contemporary art in their Wales should provide an experience potential audiences – including residents in the landscape or any national lives, and the ambition, function and that is distinctive to Wales, one that and tourists; contemporary art gallery might be relevance of a potential Welsh tourists cannot access elsewhere. • Quantify the potential and existing positioned in relation to other activities. national gallery. In particular the experience should draw cultural tourism market; on the nation’s key assets: the stunning • Enable organisations to position 5. There is a requirement to stress the Welsh landscape, the language and the themselves individually and collectively to significance and creativity in the visual unique social and industrial heritage, target markets; and applied arts in Wales to a greater its art scene – diverse and committed Explore and defined demand for a extent and provide a more integrated visual arts ecosystem, the high-profile national centre of contemporary art; approach to tourism, arts and culture. artistic activity including Artes Mundi, • Inform the underlying operating and As part of this there is a requirement Wales in Venice, National Eisteddfod financial model for the feasibility study; to promote existing arts organisations of Wales, socially engaged artistic • Ensure results can be applied to other throughout Wales as they provide a processes and practices and the initiatives; distinctive sense of place and authentic fast-growing creative industries, • Provide skills in development in research experiences in line with the Partnership design, delivery and analysis and; for Growth Strategy’s Place Building

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 60 July 2018 Key Contexts

The Economic Case for Investment in Creative jobs are highly skilled, contribute “The creative industries today are central to their exports will increase by 50 per cent by Culture and Creativity to productivity growth and are resilient to the lives of people and businesses around 2023, they will be worth £150bn and create The Government’s Cultural statement automation. Nesta’s mapping demonstrates the world. This is now a sector where Wales 600,000 new jobs.” 82 emphasises that: that the UK “is experiencing a boom in has no commercial or technological creative entrepreneurship – with the number disadvantage... We are constrained only by Nesta’s Creative Nation study (2018) “[The creative industries] are a vital engine of businesses growing in nine out of 10 our talent, our ambition and our further argues that cluster-based growth of our economy. They contribute jobs and places mapped. Creative industries – determination. The Welsh Government’s must be contextualised and customised to wealth and help to put Wales on the map, from architecture to film and advertising – priority is therefore to provide the support the location, writing “Different locations raising its image world-wide. The latest also grew faster than other sectors in four and guidance to ensure that no talent is across the UK follow a multitude of cluster figures (2014) show that we have over 5,300 out of five (83%) areas.” Yet, Nesta unfulfilled and no marketable creative idea is development models, and what works in one creative businesses, which generate over concludes that if the geography of creative wasted.” 81 Ron Jones, Chair Creative location might not necessarily work £2.1bn annual turnover, and give jobs stays the same, three quarters of new Industries Sector Panel elsewhere.” The authors identify five employment to over 49,000 people. The creative industries jobs will be in these top creative cluster models: incipient clusters, culture sector produces talented individuals 10 areas, none of which are located in Taking a clusters-based approach to the creative conurbations, creative districts, with transferable skills that benefit our Wales. 79 The authors further argue that development of the creative industries is creative challengers and creative capitals. creative industries.” 76 “the creative industries are unlikely to make being rolled out as a sound strategy for a dent in the UK’s productivity problem bolstering the sector, and encouraging The visual arts sector is embedded within unless policymakers can increase the growth outside of London. The Creative the wider creative industries, classified by number of high productivity growth scale-up Industries Cluster Programme is investing the unique, creative and marketable output businesses.” 80 £80m in eight creative research and at their core, and widely documented as development partnerships across Britain making a significant contribution to the and for which Clwstwr Creadigol / Cardiff economic well-being of Wales. 77 Across the University is one of 22 shortlisted entries UK the creative industries are growing at a as of February 2018. As the Sector Deal rate of 11%, twice as fast as the rest of the cites, “if we can get the conditions right economy, as evidenced by Nesta in and the creative industries continue to February 2018. 78 outperform the rest of the UK economy,

76 Welsh Government, Light Springs through the Dark: A Vision for Culture in Wales (Dec 2016) 77 Originally grouped together by the Department of Culture, Media and Sport government in 1998 with sub-sectors including arts, film, television, radio, design, computer, IT and galleries; Department for Culture, Media & Sport, Creative Industries 79 Includes Milton Keynes, Birmingham, Luton, London, Mapping Documents 2001 (Apr 2001) Slough and Heathrow, Edinburgh, Manchester, Leeds, Bristol, 82 Industrial Strategy: Creative Industries Sector Deal, 78 Mateos Garcia, J., Klinger, J. and Stathoulopoulos, K. Reading; Juan Mateos Garcia, Joel Klinger and Konstantinos 81 Creative Industries Sector Performance, http://gov.wales/ Department for Digital, Culture, Media & Sport, Department for ‘Creative Nation: How the creative industries are powering the Stathoulopoulos, Creative Nation, Nesta (Feb 2018) topics/businessandeconomy/our-priority-sectors/creative- Business, Energy & Industrial Strategy, The Rt Hon Greg Clark UK's nations and regions’, Nesta, February 2018 80 Ibid industries/?lang=en MP, and The Rt Hon Matt Hancock MP, March 2018

61 Key Contexts

The Economic Case for Investment in 2. While the clusters segmentation Culture and Creativity above focuses on economic growth, the underlying architecture, strategy Wales’ economic growth is in part and ethos of clustering may be dependent on creative innovation at its applicable to nourishing and building core, relying on a professional skill-set the contemporary art sector in Wales. that is valuable, non-replicable and integral to creative production. Further, the Impact Investment movement suggests that those with the right skills to address society’s most pressing challenges may be best placed to find new solutions. The skills that are found to be most immune to robotisation include collaborative, interdisciplinary working; the blending of technical and creative skills; and entrepreneurship. Ensuring that the public and the upcoming generation have access to the creative process and experiences could indeed include via an open, progressive national gallery of contemporary art – that both immerses people in surprising or beautiful environments and provides the platforms to nurture these very skills.

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 62 July 2018

Nesta, Creative Nation Study, February 2018

Implications1. and Opportunity Key Contexts

Leadership and Advocacy in recent years, resulted in comparable The publication of Building Resilience – Leadership and Advocacy Arts leaders, Welsh political leaders and public investment in growth in Wales’ visual Inquiry into Non-public Funding of the Arts Implications and Opportunity current policies recognise the value and arts sector despite a number of policies (2018) emphasised these concerns. 1. The Welsh Government’s confidence in potential impact of culture and the creative and papers being written in the last decade the power and value of the arts must industries from a number of perspectives (Figure 14). Thus, while many welcomed the Succession Planning translate into confident investment. – economic (job creation, inward Welsh Government’s political and financial Many of those consulted highlighted the investment, tourism); social (see Baroness commitment to this Study, most interviewed limited number of senior positions in visual 2. Should the Welsh Government put Andrews 2014, Professor Dai Smith, 2013); felt the need to temper their enthusiasm arts galleries in Wales, which prevents a significant stake in the nation’s and reputational (international positioning, until significant financial investment is junior cultural professionals from contemporary art sector, it will be in ‘soft power’.) made. progressing within their own organisations, a stronger position to draw disparate or within the Welsh visual arts sector. external stakeholders together to “We see culture as a priority. We believe in it “There seems to be a blind spot in identify shared ambitions and explore for its own sake, and in supporting it with government.” Museum Director “There is noticeable hiatus in leadership of how best to leverage public investment public funds. Culture is central to our key visual arts venues.” Arts Leader in the nation’s contemporary arts for the society and our sense of nationhood…. Equally many were concerned that any greater good. We start from a good base, but we should investment in a national entity would Similar to the Artists Professional Cycle, aim higher: I want Wales to be the most detract funds from existing publicly- cultural professionals in Wales may have to 3. While the visual arts organisations creatively active nation in Europe. I am subsidised organisations, thus destabilising seek employment outside of Wales, or in interviewed are ambitious and determined that we should continue to send them. (See page 86, Sector Ambition). other sectors, in order to progress. A few dedicated to their missions, there is a a confident, outward-facing message to the suggested that this lack of professional noticeable lack of strategic planning rest of Europe and beyond.” 83 Ken Skates, The vast majority of visual arts leaders movement has had noticeably negative and advocacy at national level. AM, Cabinet Secretary for Economy and acknowledged their own lack of ramifications: The membership-body, Visual Arts Transport coordinated advocacy and the lack of Galleries Wales, acknowledges that it is a compelling, evidence-based, strategic “Directors stay in post too long. They should not currently performing this function. “If our government were more confident in case for support for the arts nationally. move on 4-5 years in – but they don’t, the power and value of the visual arts The Welsh chapter of What Next?, therefore the sector is inert. 15 years as 4. To drive any contemporary art concept sector, and put their money where their a national forum for the arts, aims to director is not good for local artists, forward at this scale requires key mouth is, others would be more likely re-calibrate these discussions. galleries, curators. They should be going off stakeholders to collectively, to follow.” Artist to work overseas. It needs more fluidity. collaboratively and clearly ensure Yet consensus remains that visual arts It needs a laxative.” Artist that the visual arts are integral to Many interviewed, however, felt that the leaders’ failure to lobby government conversations about Wales’ future political recognition of the power of the collectively may directly or indirectly be “I’m not impressed by the ambition of my as an inclusive and creative nation. arts and creative industries has not, affecting the funding model and capital peers. They seem to lack enthusiasm, ideas investment in the visual and applied or ambition for a bigger opportunity.” 83 Welsh Government, Light Springs through the Dark: contemporary arts in Wales. Arts Leader A Vision for Culture in Wales (Dec 2016)

63 Key Contexts

2001 2006 2010 2013 2015 2018 • An independent • Plus Tate: the visual arts sector report for the Welsh Connecting Art to in Wales: Wales in Government into People and Places Venice (Arad Arts in Education in (Tate, Schutt) Research) the Schools of • The Culture White Wales Paper (UK • The Review of Art • Wales Art Review • Culture of • The Well Being of • Building Resilience 2016 Department of Galleries and (Welsh Assembly Innovation: An Future Generations Inquiry into non- Culture, Media and Permanent Government) economic analysis of (Wales) Act 2015 public funding of the 2014 Sport) Exhibition Spaces in • The Display of Art in innovation in arts • Culture and Poverty: arts (National • Visual Arts Sector Wales (Pratley) Wales (DCA and cultural Harnessing the Assembly for Wales, Review (Creative Consultants and organisations power of the arts, Culture, Welsh Scotland) Peter Jenkinson) (Nesta) culture and heritage Language and 2002 to promote social • Light Springs Communications justice in Wales through the Dark: A 2017 Committee) 2008 2012 • Inspire: Our strategy (Baroness Kay Vision for Culture in • Industrial Strategy: • The Future Display for creativity and the Andrews OBE) Wales (Ken Skates) Creative Industries of Visual Art in arts in Wales (Arts • Local Museum • Pioneer Area Sector Deal, Wales (ABL Council of Wales) Provision in Wales Programme Pilot Department for Consulting, Levitt Year Evaluation Final • Views of the Future • 10-Year Plan (Dr Haydn E Digital, Culture, Bernstein, Rider Report (Welsh (Amgueddfa Cymru 2014-2024: Edwards, Chair of Media & Sport, Levett Bucknall) Government, 2016) • Arts Council of Consultation Report) • Capital Strategy, Unlocking Potential Expert Review) Department for • Understanding the Wales, Remit-Letter 2012-2017 (Arts Embracing Ambition • Wales in the World: Business, Energy & Value of Art and (Welsh Government) Council of Wales) (Creative Scotland) Wales Arts Industrial Strategy, International Culture: The AHRC • Arts Portfolio Wales The Rt Hon Greg Strategy, 2015-2018 Cultural Value Survey 2016/17: Key Clark MP, and The Rt (Arts Council of Project (Crossick Findings (Arts Hon Matt Hancock Wales) and Kaszynska, Arts Council of Wales) MP, March 2018 • Rural evidence and and Humanities • Review of • National data review: Analysis Research Council) Amgueddfa Cymru Contemporary Art Figure 14: Key policies and papers of Arts Council • The value and – National Museum Gallery Wales Source: Event, April 2018 England Investment, impact of Wales’ Wales (Dr S Thurley) Preliminary Arts and Cultural presence at the Feasibility Study and Participation and Venice Biennale for Options Appraisal Audiences (2015) (Event) National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 64 July 2018 Key Contexts

Capital Investment Pontio Arts Centre opened in 2017 as part Welsh Cultural Investment of Bangor University’s Arts and Innovation As a result of the 2008 Feasibility Study, Centre. The Centre funded by Arts Council the Welsh Government / Arts Council of of Wales, Welsh Government, EU Funds Wales contributed to the capital costs of a and Bangor University, does not house an suite of visual art gallery capital projects, art gallery (with its neighbour, Storiel, totalling £35.3m (Figure 16). These included performing this function immediately the West Wing of the National Museum across the road). Yet the structure lends Cardiff (£6.5m, 2011) and capital itself to a curated programme of digital contributions to Chapter Arts Centre work, which could include cross-medium (Refurbishment, £3.8m, 2009), and visual arts. Aberystwyth Arts Centre (total £1.25m, 2009), MOSTYN in Llandudno (total £5.1m, A number of these organisations have 2010), Glynn Vivian in Swansea (total £6m, undertaken economic impact assessments, 2016) and Tˆy Pawb in Wrexham (total quantifying tangible economic return £4.6m, 2018 84 with £700k as a result of through combined supply-chain and VVP 85) (Figure 15). induced spending, additional spend in the local economy, job creation and return Independent galleries have also undertaken on investment. 86 their own capital projects, funded by a combination of public and private investment, over the past decade. These include Plas Glyn-y-Weddw on the Llˆyn peninsula, Oriel Ynys Môn in Anglesey and MOMA in Machynlleth.

84 £1.56m from Wrexham Council; £2.3m by the Welsh Arts Council, Stakeholder interview 85 Vibrant and Viable Places (VVP) is a regeneration framework that was produced by Welsh Government in March 2013. The vision was ‘that everyone in Wales should live in well-connected vibrant, viable and sustainable communities with a strong local economy and good quality of life’. Wrexham was successful in securing £10.5m investment from the Vibrant and Viable Places Programme. Along with match funding, Wrexham received a £24m boost, used for various regeneration projects which will help to create jobs, increase housing supply, tackle poverty, help create work and learning opportunities and improve community facilities 86 Plus Tate

65 Key Contexts

Arts Organisation Date Total Capital Arts Council Local Authority & Other Welsh Government Arts Organisation Year Investment Budget Lottery Scheme (£) Wales Millennium Centre, 2004 £106m £10m £41m from National Lottery – £37m Aberystwyth Arts Centre 2009 £1.25 Cardiff Millennium Commission Chapter Arts Centre 2009 £3.8m Chapter Arts Centre, 2009 £3.8m 1.75m £71,000 from the Big Lottery £850K Glynn Vivian 2016 £6m Cardiff Fund, £172,000 from the MOSTYN 2010 £5.1m European Regional Development West Wing, National Museum 2011 £6.5m Fund Cardiff Aberystwyth Arts Centre 2009 £1.25m 350k 0 0 Oriel Ynys Môn 2008 £1.5m Creative Units, Aberystwyth Ruthin Craft Centre 2008 £4.4m MOSTYN, Llandudno 2010 £5.1m £3m £1.9 from Cadw, Llandudno £200k Storiel 2016 £2.1m Council, Mostyn Estates, Carlton Tˆy Pawb 2018 £4.6m North Wales, Foyle Foundation, Total 35.53m Rayne Foundation, Colwinston Charitable Trust, Nigel Moores Figure 16: Capital investment in Welsh arts Foundation, Garfield Weston organisations 2008-2018 Foundation, The Foundation for Source: Event, April 2018 Sport and the Arts, and Friends Arts Organisation Year Investment of Oriel Mostyn. (£) Two were in Wales (total of £11.1m) Glynn Vivian Art Gallery, 2016 £6m £2m £500k £3.5m, including £550,000 Swansea from the Swansea Cornerhouse/HOME 2015 £25m Regeneration Area Firstsite 2011 £28m programme Grizedale 2009 £1.3m Storiel, Bangor 2016 £2.1m £100k £200k Unknown The Hepworth 2011 £35m Tˆy Pawb, Wrexham 2018 £4.6m £2.3m £1.7m £700k VVP Kettle’s Yard 2018 £10m MIMA 2007 £14.2m Figure 15: Public capital investment in Welsh arts organisations Nottingham Contemporary 2009 £20m Source: Event, April 2018 The Pier Arts Centre 2007 £4.5m Towner 2009 £8.58m Turner Contemporary 2011 £17.4m Figure 17: Total capital investment in Whitworth Art Gallery 2015 £15m Plus Tate organisations in comparison Source: Becky Schutt, Amanda King Wysing Arts Centre 2008 £1.7m National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 66 July 2018 Key Contexts

2000 2003 2008 2009 2010 2016 2017 2018+

• Aberystwyth Arts Oriel Davies Gallery • Ruthin Craft Centre • MOSTYN, • Storiel (£2.1m) • Aberystwyth Arts • T ˆy P a w b Centre, Aberystwyth (Phase one: extension (New build, £4.4m) Llandudno • Glynn Vivian in Centre, Aberystwyth (development, University and refurbishment) • Oriel Kyffin Williams (Extension and Swansea University (cinema £4.6m) (Refurbishment, opened at Oriel Ynys refurbishment, (restoration, uplift) • Oriel Myrddin in £4.3m) Môn (£1.5m gallery) £5.1m) refurbishment and • Pontio (development, Carmarthen • g39 incorporated 2004 extension, £6m) £56m) exploring capital • Aberystwyth Arts (after 1998 • Plas Glyn-y-Weddw development; Centre, Aberystwyth establishment) 2011 funding for preparing University • CVA closes, followed environmentally application to ACW (Development of by audit by the controlled storage • Plas Glyn-y-Weddw artist studios National Audit Office facilities exploring capital complex, £1.25m) (Arts Council of development • Oriel Davies Gallery • Chapter Arts Centre Wales) • Chapter Arts Centre (Phase two: (Refurbishment, exploring further extension, £1.7m) £3.8m) • West Wing at • g39 – the first National Museum capital development artist-run space in Cardiff (New • Ffotogallery requires Wales to be galleries for Modern a long-term home supported by a and Contemporary • National Museum revenue agreement Art, £6.5m) Cardiff masterplan with Arts Council of Wales

Figure 18: Overview of capital investment in Welsh cultural projects over the last 18 years Source: Event, April 2018

67 Key Contexts

Welsh Projects in the Pipeline Site Updates Total Capital Budget

Cardiff Bay Cultural Cited in Building More and Better Not yet published Attraction, Cardiff Jobs – a Consultation Green Paper, 2017 – In consultation Conwy Culture Centre, Planning Application approved £2.67m Conwy March 2017 Plas Glyn-y-Weddw, Pwllheli Fundraising underway – catering £500K facilities and amenities MOMA Machynlleth, Owned and managed by The Portion of £734K raised Machynlleth Machynlleth Tabernacle Trust. privately by the Trust for a Construction commenced – range of capital projects Storage and office facilities over ten years A new attraction in the Graving Docks adjacent to main site Source: From Building More and Better Jobs, Cllr Russell Goodway, Cabinet Oriel Myrddin Gallery, Directly managed by Formerly included within Member for Investment and Development, Carmarthen Carmarthenshire County Council’s ACW capital programme March 2018 leisure services, remodelling of the Plas Glyn-y-Weddw (1-4 gallery extension) existing gallery plus an extension Source: Donald Insall Associates, 2018 into King Street Aberystwyth Old College Aberystwyth University’s heritage £19.47m Aberystwyth (currently being and cultural mixed-use used for artists studios) development, including potentially an art gallery Golden Grove / Gelli Aur, Owned and managed by Golden Not publicly available Carmarthenshire Grove Trust, Development of historic property into cultural venue

Figure 19: Welsh Projects in the Pipeline Source: Event, April 2018

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 68 July 2018

There are a few cultural infrastructure projects in the pipeline for refurbishment and uplifts, with one proposed new venue in Cardiff Bay, as part of a wider redevelopment plan for Cardiff Bay outlined in the November 2017 Green Paper Consultation Building More and Better Jobs. While this list (Figure 19) is not exhaustive, it does demonstrate strong geographic spread.

National Library Wales and National Museum Cardiff are also in the stages of developing masterplans.

Arts Council of Wales Capital Programme, established in 1997, distributed £125m funds for both minor (less than £100K) and major capital projects (more than £100K) in that time. While the Programme closed in autumn 2017, some projects have been retained, including Oriel Myrddin and Chapter Arts Centre, the latter of which will receive a nominal capital allocation. While this may not be on the ambitious scale originally envisaged, it is likely that there will be some redevelopment of Chapter Arts Centre’s site in Cardiff. Other projects, such as Plas Glyn-y-Weddw, are seeking capital support from other sources. Key Contexts

UK and Ireland Cultural Investment • Tate St Ives £20m extension opened in • Ireland announced over £1.2bn (€1.4bn) autumn 2017, with Tate Modern’s £260m in cultural infrastructure investment; 89 extension opening two years prior; • Manchester announced the next stage of • The large-scale cultural investment The Factory, a £111m new arts centre includes £80.1m construction of the new designed by Rem Koolhaas and the V&A Museum of Design in Dundee, Office for Metropolitan Architecture Scotland (due for completion in summer (OMA), on the heels of the opening of Museum Director 2018 and part of a European Capital of Home (£25m, 2015). Sir Richard Leese, Culture 2023 Bid); a £16.8m extension to Leader of Manchester City Council, has Yet within Wales the visual arts sector the Scottish National Gallery in said The Factory would “make receives an imbalance in available public Edinburgh (due for completion in autumn Manchester and the wider region a funds for capital projects as compared to 2018); and a £10m refurbishment of the genuine cultural counterbalance to other art forms. Some interviewed suggest National Library of Scotland in London.”; 90 this is a reverberation of the art historic Causewayside, Edinburgh (due for legacy of Wales, with deep-rooted tradition completion in March 2018); 87 • Hull City of Culture 2017 was a £32.8m in literature, performance and music – programme which leveraged a further rather than visual arts. Arts Council of • Northern Ireland is preparing a joint bid £48m for capital investment in public Wales has distributed £19.88m in Lottery between Derry/Belfast for European realm enhancement and the Ferens Art Funded capital grants since 2008; only 9% Capital of Culture 2023 and The Big Art Gallery and Hull New Theatre. 91 has been for visual arts projects. Debate in February 2018 called for politicians to “be courageous and See Figure 20 for other investments in Further, and perhaps more significantly, visionary by pledging to invest in the arts cultural organisations in the British Isles. compared to other governments’ and sector.”; 88 international trends in cultural infrastructure investment, the Welsh Government’s investment in visual arts 89 Project Ireland 2040: National Planning Framework; The 1.4bn Euros includes the expansion of the Arts and Cultural capital infrastructure is dwarfed. Development capital scheme, new investment and investment in existing infrastructure (including 460m Euros for phased investment in The National Cultural Institutions, the National In the course of this study alone, Great Museum of Ireland, The National Library Crawford Gallery, the Britain and Ireland’s governments have National Archives of Ireland, the National Concert Hall, National Gallery, Abbey Theatre, Irish Museum of Modern Art and announced significant figures being Chester Beatty Gallery allocated to cultural infrastructure: 90 Manchester’s Factory arts building gets go-ahead 87 Cabinet Secretary for Culture, Tourism and External Affairs, (The Guardian, 27 Jan 2018) Scottish Government 91 Culture, Place and Policy Institute University of Hull, 88 Northern Ireland arts sector needs investment (Belfast Cultural Transformations: The impacts of Hull UK City of Culture Telegraph, 19 Feb 2018) 2017 Outcomes Evaluation (Mar 2018)

V&A Dundee under construction, 2017 Source: Laerol The Ferens Art Gallery illuminated at the opening event, Hull City of Culture 2017 Source: Kim Dent-Brown 69

£35.3m of investment in capital projects (Figure 16) in the Welsh visual arts sector over the past ten years for a population of only 3.1m people is a seemingly impressive figure.

“Culture has been systematically under- funded for many years.” Key Contexts

Arts Organisation Year Investment (£) Arts Organisation Year Investment (£) Arts Organisation Year Investment (£) Under £10m £20-£30m £61-£900m Aberystwyth Arts Centre 2009 £1.25m Nottingham Contemporary 2009 £20m V&A Dundee 2018 £80m

Grizedale Arts, Coniston 2009 £1.3m Tate St Ives 2017 £20m Design Museum, London 2016 £83m Wysing Arts Centre, 2008 £1.7m New Art Gallery, Walsall 2000 £21m The Factory, Manchester 2020 £111.7m Cambridge The Curve, Slough 2016 £22m Hull Cultural Infrastructure 2013 £122m Chapter Arts Centre, Cardiff 2009 £3.8m Kelvin Hall redevelopment, 2017 £24m Project Ruthin Craft Centre, Ruthin 2008 £4.4m Glasgow Tate Modern, Switch House 2016 £260m Tˆy Pawb, Wrexham 2018 £4.5m Cornerhouse/HOME, 2015 £25 extension, London The Pier Arts Centre, 2007 £4.5m Manchester National Cultural Institutions, Planned £401.5m Stromness Bournemouth Cultural Quarter Planned £25m Ireland MOSTYN, Llandudno 2010 £5.1m The Barras Market Cultural and Planned £27m Olympicopolis, London Planned £850m Glynn Vivian, Swansea 2016 £6m Events Quarter, Glasgow West Wing, National Museum 2008 £6.5m Firstsite, Colchester 2011 £28m Cardiff Arts Organisation Year Investment (£) Towner Gallery, Eastbourne 2009 £8.58m £31-60m Arts Organisation Year Investment (£) The Hepworth, Wakefield 2011 £35m £10-19m Storyhouse, Chester 2017 £37m Kettle’s Yard, Cambridge 2018 £10m Scottish Chamber Concert Planned £45m Portobello Arts Hub, London Planned £10m Hall, Edinburgh National Library of Scotland 2018 £10m V&A Exhibition Road extension, 2017 £48m National Library, Dublin Planned £10.5m London Battersea Arts Centre, London Planned £13.3m Courtauld Institute, London Planned £50m MiMA, Middlesbrough 2007 £14.2m Pontio, Bangor 2015 £56m Whitworth Art Gallery, 2015 £15m Manchester Scottish National Gallery, 2018 £16.8m Edinburgh Figure 20: Capital investment in UK and Turner Contemporary, Margate 2011 £17.4m Ireland arts organisations, ranging from Crawford Art Gallery, Cork Planned £19.2m £1m to £850m since 2000 Source: Event, April 2018

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 70 July 2018 Key Contexts

Global Cultural Investment These highly visible investments are aimed at achieving international positioning, nation-building, socio-cultural impact, tourism growth, talent attraction, inward investment and economic (re)generation. The rationale for global investment in 92 In 2016, culture is represented by the statement 101 large-scale cultural infrastructure of The New South Wales Government projects (including 89 museums) worth (Australia), which announced £156.5m approximately £5.87bn ($8.45bn) were ($222m) in major cultural infrastructure completed, while 135 projects were projects, part of an £619.7m ($879m) suite announced worth £5.87bn ($8.45bn) with of investments to rejuvenate cultural a median budget of approximately £25m infrastructure: ($36m). 93 “This investment is essential to the There have been 29 completed museum Government’s vision for NSW to be known projects in Europe including an extension for its bold and exciting arts and culture to Art Museum Basel (Kunstmuseum) 94 that engages the community, supports (£73m, $104m) and new builds including innovation, facilitates economic Interior and Exterior the Design Museum London (£83m, development and reflects the state’s Design Museum, London $120m), Luigi Pecci Centre for rich diversity.” 96 Source: Event, April 2018 Contemporary Art (£10.7m, $15.3m, Prato, Italy), Brussels’ Millennium Iconoclast Museum of Art (MIMA) (£13.8, $19.7m), Museum of Art, Architecture and Technology (MAAT) in Lisbon (£14.3m, $20.3m) and the National Museum of Contemporary Art in Athens (£26m, $37m). 95

92 Adrian Ellis and Becky Schutt, British Council and UKTI, AEA Consulting, Large-Scale Cultural Infrastructure Mapping (2013) 93 AEA Consulting, Cultural Infrastructure Index 2016 Extension – Christ & Gantenbein – Architects, 3,295sqm 96 https://www.create.nsw.gov.au/category/cultural- 95 AEA Consulting, Cultural Infrastructure Index 2016 infrastructure/

Beyond the British Isles, forthcoming projects totalling more than £175bn ($250bn), and each individually costing in excess of £10m, were identified globally in a 2013 mapping for UKTI and British Council (Figures 21 and 22). Key Contexts

Announced Completed North America 55 41

Europe 50 36 $1.76bn $1.96bn Asia 17 11 $1.32bn $5.46bn $4.98bn $1.51bn 10 Australia & New Zealand 1

6 Middle East 4

Africa 2 0

1 Latin America 2 Cultural Hubs/ Districts

Performing Arts Centres Announced Completed Museums

Figure 21: Announced and completed Figure 22: Announced and completed capital investment in arts organisations capital investment in arts organisations globally by type (2016) globally by region (2016) Source: AEA Consulting, 2016 Source: AEA Consulting, 2016

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 72 July 2018 Key Contexts

Capital Investment • Release contemporary art from its • Martin Creed’s Work No. 850 Implications and Opportunity dependency on white-box exhibition at Tate Britain, encouraged the 1. If Wales aims to compete in the global spaces and provide a wealth of exploration of human movement knowledge economy, one strategy is to different types of spaces that artists and spirit by inviting the public to accelerate and boost its investment in can respond to; sprint up and down the main atrium cultural infrastructure. Yet it is worth • Remove defined boundaries and (2008) considering whether Wales could enable a much more flexible approach • Anthony Gormley’s One & Another leapfrog the global trend in building to what a gallery is and could be, as enabled 2,400 people to occupy single large-scale cultural facilities and visitors increasingly move from being the Fourth Plinth in Trafalgar Square not simply invest in capital because passive observers to active creators. every hour for 24 hours over 100 other governments have identified this Wales has demonstrated the powerful consecutive days and was live- investment as the solution to social- nature of this participatory approach streamed by Sky Arts continuously; cultural-economic challenges and alongside high-profile examples in doing so the public became the global positioning. Wales has in the UK: artist and the art (2009). opportunity to assess what Welsh • Architect and visual artist Apolonija contemporary art and Welsh society Šušteršic’s Politics “In Space” / requires in the 21st century and identify Tiger Bay Project’ for Artes Mundi 5 an authentic solution. created a platform for reflection and discussion on the redevelopment of 2. Infrastructural investment must bolster Cardiff Bay in National Museum rather than destabilise Wales’ existing Cardiff’s West Wing Galleries (2012) visual arts infrastructure, which has • Tanya Bruguera staged the been methodically invested in over the performance work Tatlin’s Whispers past ten years. #5 in the main hall of National Museum Cardiff at Artes Mundi 5 3. Consideration should be given to the (2012) development and delivery of a new form • Keith Harrison installation ‘Mute’ of national gallery of contemporary art 2015 in Fragile? at National Museum for the 21st Century that contests some Cardiff was created as a large often presumed norms about a gallery’s sound-system covered in gold tiles. physical form: Harrison invited visitors to play vinyl records to cause the work to self-destruct (2015)

73 Key Contexts

Exhibition and Storage Space film, video and installation works by are in storage), Amgueddfa Cymru’s Spaces sqm Figure 5 (page 39) provides data on a adapting the gallery spaces as required: challenge in having to regularly de-install number of arts and culture organisations in the permanent collections raises the Average temporary exhibition 484 Wales to demonstrate the nature and scale “We can’t fit the exhibition in the gallery.” barrier to view the nation’s collection. 99 100 space in Wales of the permanent and temporary exhibition Museum Director Largest temporary exhibition 727 spaces and supporting ancillary facilities in The space requirements to receive spaces in Wales: National Wales. Notably the average high-quality Further, while the current footprint at international touring exhibitions tend to fall Museum Cardiff temporary exhibition space for the display National Museum Cardiff allows for the into three categories: 200-400sqm, of contemporary art in Wales, based on the display of large-scale temporary art 500-700sqm and 1,000-1,100sqm (Figure Largest temporary exhibition 722 sample outlined on page 39, is in the region exhibitions, this is at the expense of 24). The current exhibition space in Wales spaces in Wales: National of 484sqm. showing the permanent collection. (Figure 23) is not adequate to enable Wales Library of Wales to fully participate in the international Figure 23: Scale of largest and average The National Museum Cardiff offers an Major temporary exhibitions, curated by touring exhibition market – either to import modern and contemporary art exhibition 1,040sqm of permanent and temporary Amgueddfa Cymru or externally (including exhibitions or export contemporary art spaces in Wales exhibition space to present the modern and Artes Mundi), can only be put on view if the exhibitions developed in Wales, and in Source: Event, April 2018 contemporary art collection, which is permanent collection is de-installed from particular, take in the big blockbuster acquired and owned by Amgueddfa Cymru the West Wing of the National Museum shows. This international circuit is a key Example Exhibitions Size (sqm) but regularly drawing on external funding Cardiff. Therefore objects from the platform for positioning Welsh art abroad support, notably an important long-term Contemporary Art collection of Wales are and bringing international works of art, A Century of Chairs, Design 200-400 partnership with the Derek Williams Trust. never permanently on view anywhere in and the interpretation that comes with it, Museum The space allocation for contemporary art Wales, severely limiting the public’s access to communities in Wales. in the Upper West Wing, National Museum to the nation’s collection. Only 25%-30% of Pop Art in Print and Jameel 200-400 Cardiff is 727sqm with approximately 1,270 the post-1900 collection (excluding works As for the wider visual arts sector (beyond Prize, V&A wall sqm. In addition, there is a 150sqm on paper) can ever be on display at any one the venues represented in Figure 5), the The Fabric of India, V&A 500-700 Photography Gallery at the National time 98 so this figure drops when a loans-in majority of those interviewed highlighted Art of Nature: Three Museum Cardiff, with approximately 233 show is in the galleries, for example during that the existing infrastructure does not Centuries of Natural History 500-700 wall sqm. However, these spaces are Artes Mundi. If the works on paper in the meet their needs or ambitions, including Art, NHM insufficient to show the larger and more collection are taken into account this the ability to display their own curated Women, Art, and Social 1,000-1,100 recent Contemporary works in the figure drops to nearer 8%. While it is exhibitions and to host touring exhibitions. Change: The Newcomb collection and comprehensive solo commonplace for most collecting- 99 Exhibitions space constraints aside, museums may not Pottery Enterprise, exhibitions by artists linked to Wales. 97 institutions to display only a small portion show works of art that do not fit with the curatorial mission; that are particularly delicate and require sensitive and limited Smithsonian, USA Moreover the Amgueddfa Cymru lacks the of their collections at any given time lighting; or because they are located off-site due to storage revenue budgets to regularly show its own (approximately 90% of total UK collections constraints Future Design, V&A 1,000-1,100 100 Suzanne Keene, Collections for People (UCL Institute of Archaeology, 2008) It is notable that in ten years since this Figure 24: Sizes of example touring 97 For example, the recent Ivor Davies and Gillian Ayres shows 98 This would only be when there is a collections-based study was published significant strides have been made to were selective retrospectives only exhibition in galleries 19-24 digitise and share collections in new ways exhibitions Source: Event, April 2018 National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 74 July 2018 Key Contexts

“We always think about Welsh culture and storage. This is primarily because they are that over a 10 year period the Amgueddfa Exhibition and Storage Space what you do in a local global context but… temporary galleries; the exceptions are the Cymru’s national collection grows by an Implications and Opportunity we can’t be a part of these major exhibition national institutions. average of around 300 works (ranging from 1. There is a gap in supply for high-quality, networks.” Museum Director prints to major installation acquisitions) sufficiently large exhibition spaces For example, the National Library of Wales with 90% growth in the post-1900 (i.e. a minimum of 800sqm) that can “Our ambition is not matched by our houses all of its artworks on site in collection. accommodate international and national physical footprint.” Museum Director Aberystwyth. There is approximately shows and larger and more complex 1,000sqm of painting storage (across four “We are lacking capacity. I’m excited about artworks across the country. Availability “There is a dearth of proper spaces at separate spaces) however, there is no the potential of pooling resources.” of such spaces will enable Wales to any scale.” Established artist spare capacity. Gallery Director both develop its own exhibitions to tour nationally and internationally and to While there are 106 accredited Welsh Similarly at Amgueddfa Cymru there are welcome blockbuster travelling Museums, only 12 of these art galleries nine storage areas for Fine Art totalling exhibitions – essentially building the meet the Museum Accreditation standards approximately 700sqm. Storage rooms nation’s profile overseas and required to enable loans of national range from 20sqm to 200sqm, with seven encouraging international dialogue collections. These include: Parc Howard spaces at the National Museum Cardiff and through art at home. Museum and Gallery, Storiel, Oriel Ynys Nantgarw housing the remaining two Môn, Newport Museum and Art Gallery, (170sqm and 50sqm). Storage is largely 2. There is a requirement for in high- Glynn Vivian Art Gallery, Cyfarthfa Castle organised by media, for example, works on quality storage space for the national Museum and Art Gallery, MOMA paper are held in two stores, sculpture in collections to ensure the contemporary Machynlleth, Oriel Plas Glyn-y-Weddw, one, installation in another. In some stores visual and applied arts collection Tenby Museum and Art Gallery, Amgueddfa 100% of the works are modern and continues to grow to reflect Cymru, Aberystwyth University School of contemporary, in others it is as low as 20%. contemporary life. There is an Art Museum & Galleries, University of The fragmented nature of this storage opportunity to invest in collective South Wales Art Collection (Figure 25). makes public and technical access storage space for a dispersed In addition, Chepstow Museum and complex and time-consuming. collection. Abergavenny Museum both had Sharing Treasures funding that refurbished galleries Approximately 80% of the collection is to enable art loans from national stored at the National Museum Cardiff, but collections. all large sculptures and installations are at Nantgarw and transported to the National Moreover, our research shows that there Museum Cardiff when required for display. is also a lack of suitable storage space. The nine stores are already over capacity, A large majority of the arts organisations with collections care and access already an have no storage at all or very limited issue as a result. This is a huge issue given

75 Key Contexts

Name of Museum Location Museum Type RD Number Date Achieved Accreditation

1 Parc Howard Museum and Gallery Carmarthenshire Local Authority Museum 2043 10/05/18

2 Oriel Ynys Môn Isle Of Anglesey Local Authority Museum 156 29/11/17

3 Newport Museum and Art Gallery Newport Local Authority Museum 1329 08/03/18

4 Brecknock Museum Powys Local Authority Museum 1506 25/07/14

5 Glynn Vivian Art Gallery Swansea Local Authority Museum 281 25/02/16

6 Cyfarthfa Castle Museum and Art Gallery Methyr Tydfil Independent Museum 289 25/02/16

7 MOMA Machynlleth Machynlleth Independent Museum 928 02/12/15

8 Oriel Glyn-y-Weddw Pwllheli Independent Museum 2293 08/03/18

9 Tenby Museum and Art Gallery Tenby Independent Museum 1241 21/11/13

10 National Museum Cardiff Cardiff National Museum 1697 18/07/13

11 Aberystwyth University School of Art Museum & Galleries Aberystwyth University Museums 1912 07/10/16

12 University Of South Wales Art Collection Pontypridd University Museums 2023 23/02/17

Figure 25: Accredited Welsh Museums Source: Accredited Museum, Welsh Government

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 76 July 2018 Key Contexts

Operating and Business Model symbol of social and economic Public subsidy – Welsh Government, “Sometimes, the complex recipe required regeneration of Walsall 102 and yet in June Arts Council of Wales, Local Authorities for a vital, vibrant cultural ecology is 2017 it was under threat of closure by and HLF; misunderstood or misread by civic leaders Walsall Council due to “continued austerity” • Contributed income – foundation and feeling the global pressure to catch up. measures. Following a high-profile public trust support and private income The result can be over-built, under- petition signed by 20,000, Arts Council (individual and corporate, including programmed and decontextualised cultural England has agreed to invest £3,525,948 in membership); transplants struggling to figure out how to New Art Gallery between 2018 and 2022. 103 • Earned income – including ticketing, live comfortably in their arresting dollops of catering, retail and venue hire. starchitecture.” Adrian Ellis Colchester’s £28m Firstsite Gallery was “plagued by falling visitor numbers” four While capital investment in culture is set to years after opening in 2011. 104 In 2015 it continue at record paces around the world, was reported that the Gallery was set to the challenge of ensuring revenue funds lose £500,000 that financial year despite are available to sustain any public art two injections of funding. The Gallery gallery is ongoing. Museums in the UK, subsequently lost its National Portfolio £31.2m revenue out of £31.7m is allocated including Middlesbrough Institute of Organisation status (three-year funding in the 2017-18 draft budget. Revenue Modern Art (MiMA), part of Teesside agreement) from Arts Council England. funding in this area increased by 3.5% University, opened to great acclaim and yet The Gallery is experiencing a turnaround in cash terms compared to the 2016-17 took some time to bed in. under Interim Director Anthony Roberts, budget, following a number of years including an uplift in visitor figures for the of cuts; “MiMA has earned a good reputation in first time since opening and a business • Real-terms public funding of the Arts the art world but costs £1m a year to the plan bought in by key funders. Council (grant-in-aid funding from the Middlesbrough Institute of Modern Art council, which is having its budget cut by Welsh Government and funding from the Source: Francis Hannaway, 2013 £50m over the next four years. In 2010, The business model for the publicly-funded National Lottery) has reduced over the New Art Gallery, Walsall the town was ranked as the least able place visual arts sector in Wales is defined by past decade from an original cash figure Source: Elliott Brown, 2014 in the country to cope with economic three income sources: of £29.5m in 1995-1996 to an RPI shocks like public sector cuts.” 101 adjusted figure of £26.7m in 2016-17.

More recently, New Art Gallery Walsall has faced closure in 2016/7 as a result of cuts 102 Closure of New Art Gallery Walsall (The Guardian, Culture, to local authority funding (reduction by 25% 30 Nov 2016) each year for four years). It was hailed a 103 Jack Averty, Council boss ‘delighted’ as £3.5m funding saves Walsall’s New Art Gallery (Express and Star, 28 June 2017) 101 Has arts gallery boom paid off? (Ian Youngs, BBC News, 104 Colchester Firstsite gallery in famous art visitor boost bid 16 July 2012) (BBC News, 11 August 2015)

•

PublicThe vast Subsidy majority of the Welsh Government’s budget allocations for the arts are for the Arts Council of Wales:

• Key Contexts

“Welsh Government and National lottery Arts Council of Wales also distributes Arts Council England Arts Council Wales Creative Scotland funding for the Arts Council of Wales has project funding. There were 1,089 fallen in real terms over the last decade by applications over the three financial years All 293K 188k - 10% with the Welsh Government calling on 2015/16 to 2017/18 with an element of Building-based only 520k 132k 350k the sector to reduce its dependence on Visual Arts within the project; 267 of the public spending.” 105 1,089 applications were purely visual arts Figure 26: Visual Arts Portfolio, projects. Average 1 Year Spend The Arts Portfolio Wales (APW), the Source: Event, Jan 2018 nation-wide network of 67 revenue-funded However, existing Arts Council revenue arts organisations, receive £27m Arts funding agreements for Welsh visual arts 100% 7% Council Grant-in-Aid (GiA) and Local organisations are well-below investment in 90% Authority support of around £4.6m. 106 comparable organisations from Arts 41% There are ten visual arts organisations in Council England and Creative Scotland 80% 41% 40% the APW, which receive approximately 7% (Figure 26). Many attribute this to the 70% 53% 38% (£1.89m) of the total available GiA funding, devolution legacy. 60% ranging from £45k to £376k, alongside an 11% 16% 14% additional £520K in project funding. “Public galleries in Wales aren’t aligned to 50% funding at the same level of public funding 15% 40% Figures 28 and 29 highlight the percentage provided by Arts Council England.” 55% 30% of Visual and Applied Arts spend as a 49% 44% 46% Public Subsidy proportion of the total spend across art In the UK, the “main organisations ACE 20% forms in Grant-in-Aid and in Lottery Grants. funds consisted roughly of 40% subsidy, 32% Contributed Income Over the last three financial years the 50% earned income and 10% contributions” 107 10% average annual combined spend on the (Figure 27). While this is long-standing, this 0% Earned Income Visual and Applied Arts (from GiA and business model is recognised by the ACE UK Europe USA Australia Lottery sources) per annum has been majority of those consulted as not viable Figure 27: Tripod economy by region Arts (2012). Public income (subsidy) includes £2,289,621. in the economic climate in which the visual Source: Private Investment in Culture Arts Councils, Lottery funding, Local arts are operating. Survey, Arts & Business, 2012-13; The new Authority funding and other Public funding; art of finance; making money work harder Earned income includes programme service for the arts, Nesta 2014; Encouraging revenues (admissions receipts; catering; Private Investment in the Cultural Sector, retail; arts promotions; private hire fees; European Parliament, 2013; Arts Council programme advertisements; music rentals 105 National Assembly for Wales Culture, Welsh Language England Data from Regularly Funded and Educational and Supplementary income; and Communications Committee, Building Resilience: Inquiry into non-public funding of the arts (Mar 2018) 5 Organisations & National Portfolio Contributed income includes corporate 106 Arts Council of Wales, Non-public Funding of the Arts: Organisations; How the United States funders (spo-nsorship), Donations and Consultation, CWLC(5) ART06, Evidence from Arts Council of 107 Nesta, The New Art of Finance, Making Money Work Wales Harder for the Arts (July 2014) Funds the Arts; National Endowment for Philanthropic income from individuals and

National Contemporary Art Gallery Wales the Arts (2012); Australian Ministry for the trusts/foundations. Preliminary Feasibility Study & Options Appraisal 78 July 2018 Key Contexts

Public Art 168,332.20 Combined Arts/ 1% Multi-disciplinary arts 283,627.60 Theatre Entertainment 1% 681,343.81 5% Cinema & Video Screenings 1,001,409.37 4% Visual Arts Visual Arts Craft 1,381,527.41 1,890,257.73 Combined Arts/ 716,958.35 10% 7% Multi-disciplinary arts 2% 3,797,515.20 Dance 29% Theatre Entertainment 2,462,677.82 4,518,279.78 9% Music/Opera 17% 320,325.11 3%

Public Art 206,736.98 Music 1% 1,910,861.87 14% Cinema & Video Screenings Drama 189,580.18 7,803,387.87 2% 29% Literature Craft 430,518.16 366,932.40 Music/Opera 3% 3% 5,049,075.30 Film Production 19% 146,014.95 1% Dance 1,176,165.72 Music Film Production Drama 9% 2,709,548.99 2,159,639.45 90,006.98 20% 8% 0% Literature 867,622.77 3%

Figure 28: Lottery Grants (£) per artform Figure 29: GiA grants (£) per artform 2017-18 2017-18 Source: Arts Council of Wales. 2018 Source: Arts Council of Wales, 2018

79 Key Contexts

In Wales, while the Thurley Review’s economic development, poverty reduction, underpinned by Arts Council of Wales Contributed Income recommendation for a three-year funding planning regulation and their understanding capital resource through the Lottery. Consultations with curators and directors cycle for Amgueddfa Cymru has been of local needs and opportunities, 109 they However these were cancelled at the highlighted primary concerns regarding accepted, funding is frozen until 2020 for have a vital role to play in realising the Fund’s closure. non-public funding: Amgueddfa Cymru, Arts Council of Wales potential of creative citizenship in Wales. and Cadw. Faced with these funding cuts, along with “The size of organisations in Wales means Heritage Lottery Fund (HLF) has other challenges to cultural institutions it is difficult to access funding. This is made “Then that the Welsh Government and announced a series of funding changes across the UK indicates that the underlying worse if we are located away from the cities. Amgueddfa Cymru develop a shared for the 2018/19 financial year, including a business model of the subsidised sector in London gets the majority of private sector 10 year vision for Amgueddfa Cymru with tightened budget and decreasing grant Wales is precarious at best. These findings funding, with little reaching the regions.” a five-year focus and three-year funding amounts, which will affect organisations are corroborated by the National Assembly Gallery Director agreement.” 108 seeking heritage funding. HLF is currently Wales’ Building Resilience: Inquiry into planning its strategic funding framework for non-public funding of the arts (March 2018) “We do not have a lot of high net worth The Arts Council of Wales’ Visual Arts 2019-2024, as it adapts to a reduction in and The Thurley Review of Amgueddfa figures or big companies based in Wales. Portfolio organisations are on a two-year National Lottery income. This includes Cymru – National Museum Wales (2017), While there is a Welsh diaspora, it isn’t like funding cycle, interlinked to the Welsh consultations on simplifying grant both published in the course of this study the Irish diaspora.” Gallery Director annual budget allocation from central programmes, introducing non-grant finance and the Expert Review of Local Museum government. As a result there was broad initiatives such as loans, and democratising Provision in Wales (2015). These studies “Foundations in Europe have reduced the consensus that portfolio organisations are grant-making decision process. HLF have stress the serious lack of expertise and amount of grant giving.” Gallery Director caught in a short-termism trap, unable to stressed that any new strategic funding will investment in certain areas such as plan long-term. support innovation and new ways of marketing and earned income, the lack of “Some UK based trusts and foundations working and is likely to have a strong focus staff capacity and resource, falling visitor don’t promote themselves in Wales.” Gallery Local Authorities, despite budget cuts on urban parks and landscapes. numbers, 110 and the limited private, Director arising from austerity, continue to be corporate and public funding pool, all of among the most significant supporters of The Lottery Capital Programme for major which are required to enable a healthy Interviewees also stated that “there is huge arts and culture in Wales, through direct projects (including public art initiatives), diversified funding model for individual arts competition for funding from core funding of galleries, museums, libraries and administered by Arts Council of Wales, organisations. 111 foundations and trusts” such as the Paul performance venues across the country, closed in 2017. Oriel Davies and Oriel Hamlyn Foundation, Foyle Foundation, and through grants and in-kind help to Myrddin in Carmarthen had modest Clore Duffield and Esmée Fairbairn independent arts organisations. Through expansions planned, which had been Foundation, but there is a “lack of capacity their role in education, public health, 110 Martin Bailey, Is the UK museum boom over? (The Art and know-how in writing grant applications.” 109 The most recent ADUK/ACW survey (2015) stated that the Newspaper, 26 Mar 2014) Arts contribute to public service outcomes, with 96% of 111 National Assembly for Wales Culture, Welsh Language and Gallery Director respondents stating that their arts services contribute to health Communications Committee, Building Resilience: Inquiry into and well-being outcomes; 86% stated that they contribute to non-public funding of the arts (Mar 2018); Dr Simon Thurley stronger and safer communities; 75% contributing to equality CBE, Review of Amgueddfa Cymru – National Museum Wales 108 Dr Simon Thurley CBE, Review of Amgueddfa Cymru – and exclusion, and 75% contributing to education and child (Welsh Government, June 2017); and Dr Haydn E Edwards, National Museum Wales (Welsh Government, June 2017) services Expert Review of Local Museum Provision in Wales (2015)

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 80 July 2018 Key Contexts

It was also emphasised that curators to reach broader audiences cannot be fully Very few stakeholders interviewed Many expressed concern about the push want to prioritise curatorial, R&D and realised due to these constraints. highlighted the role of their Boards in for increasing earned income. While those programming activities over grant-making, contributing to fundraising efforts. This is interviewed stated their ambitions to be which was “pulling them away from “There is significant competition for funds a clear opportunity for the sector, as “more commercially savvy”, some the jobs”. nationally, and core arts foundations (Paul emphasised in the Garfield Weston Study, highlighted “a lack of time, capacity and Hamlyn Foundation, Foyle Foundation, Clore “Although 75% of organisations said their knowledge” in relation to how this might be These constraints are echoed in the Duffield, The Esmée Fairbairn Foundation) Board was involved in fundraising, many addressed. This was also emphasised in Building Resilience: Inquiry into non-public the UK are centred on London.” Trustees are not engaged at a strategic level An Insight into the Future of Charity funding of the arts (March 2018) and Gallery Director and most organisations said that income Funding in Wales, which more broadly Garfield Weston Foundation’s An Insight generation was led by opportunity. Building focused on charities – “bigger organisations into the Future of Charity Funding in Wales While donations and sponsorship from Board level fundraising expertise and are coping better with the changing funding published in partnership with Centre for businesses have been harder to secure as recruiting on a skills-basis may help context, while many small-medium charities Charitable Giving and Cass Business a result of Corporate Social Responsibility organisations to move forward in seeking have taken few tangible steps towards School (2015). funds being reduced 112 there is potential to alternative sources of income in shifting from traditional public support to explore whether marketing budgets, which a strategic way.” 113 new ways of working; they need to become It was stated in the Visual Arts Galleries are often significantly higher, can be more pro-active and engaged in identifying Wales (VAGW) workshop that the accessed. These require a commercial Earned Income and seeking help with growth and Resilience programme had made a rather than a philanthropic benefit to the Given the funding cuts, Arts Council of development needs.” noticeable difference to a number of companies and raises issues of expertise Wales is encouraging organisations to organisations, “it has made us consider and capacity for most arts organisations. reduce their reliance on public subsidy and what we are about… it has made us think increase their earned income. Larger about what we want to prioritise.” There are approximately 116 FTE mixed-use organisations like Chapter Arts Gallery Director volunteers across the ten organisations Centre have been able to achieve 59% comprising the Arts Council Visual Arts earned income of total income (2016/17) However, it was also highlighted that there Portfolio, as well as paid staff that provide through ticket sales, hires and rentals, retail is a desire and requirement for further “voluntary hours and in kind working.” and F&B trading. 114 However, there are a investment in capacity building and Gallery Director number of organisations in Wales that are organisational development, and that this is not scaled sufficiently – in terms of space, a priority for almost all of the organisations Some interviewed suggest that this staffing or annual turnover – to generate interviewed. While many organisations are contribution is challenging to put a value on significant income. entrepreneurial and ambitious, a gear shift (on top of FTE hours) and often goes 113 An Insight into the Future of Charity Funding in Wales at organisational level to meet these unrecognised. (Garfield Weston Foundation in partnership with Centre for ambitions cannot currently happen. Charitable Giving and Cass Business School (2015)) 112 Chapter Arts Centre, National Assembly for Wales, 114 Chapter Arts Centre, National Assembly for Wales, Entrepreneurship, funding of experimental The Culture, Welsh Language and Communications Committee, The Culture, Welsh Language and Communications Committee, and innovative projects and opportunities Non-public Funding of the Arts, CWLC(5) ART07 Evidence Non-public Funding of the Arts, CWLC(5) ART07 Evidence from Chapter (2018) from Chapter (2018)

81 Key Contexts

A New Entrant “Essentially we suspect, in this current Business Model 4. The currently unstable tripod economy, It was unanimously agreed among financial climate with public funding for Implications and Opportunity coupled with co-opetiton between consultees that any new national existing venues and institutions decreasing 1. A focus on capital fundraising and Welsh arts organisations, and the contemporary art entity should bolster the and competition for external funding delivery must not overshadow the unaligned planning and funding cycles, nation’s existing visual arts infrastructure, opportunities increasing dramatically while development of an operating fundraising means that there is a necessity to which Wales has methodically invested in funds available decreasing, that the sector feasibility study and a realistic operating explore other sources of income over the past ten years: will feel it is an unsustainable development if model and risk register. beyond the traditional categories. it is a standalone venue and does not This could include crowd-funding, “It would be extremely exciting to try to recognise the value and contribution of 2. The income model for a new national venture philanthropy, patient capital, deliver a national contemporary gallery for existing collections and venues.” entity of contemporary art must be loan agreements, R&D or new financing arts. A genuinely important addition to the Museum Director defined by revenue opportunities that models taken in social finance. landscape here. We feel extremely positive benefit, rather than take away from, the As highlighted in Nesta’s paper, The about trying to make it happen.” Arts Leader One Museum Director in London stated: wider sector – for example through New Art of Finance this has created partnership bids, shared fundraising a more sustainable approach. 117 However, consultations revealed a sector- “I’m also concerned, reading Mendoza’s expertise, a shared resource pool and wide concern that any new national entrant, paper [England’s Museums Review]. 115 donor cultivation strategies, or 5. The new National Contemporary Art requiring both major capital and ongoing I’m really worried about resilience – and the distributed programming. Gallery Wales has the opportunity to revenue support, will at best destabilise dependence on corporate support. I don’t prioritise investment in R&D and there and at worst destroy the existing publicly think this [new National Gallery] should be 3. There is an opportunity for a national should be some incentivisation to do so, funded ecology and competition for limited just another engine to fundraise for... entity of contemporary art to serve as a as in other sectors. The potential private funds, as highlighted above. Within the context of Brexit this is a real leader in helping the sector reconfigure payoffs, particularly in terms of building serious concern.” its business model, for example, by audiences – and therefore micro- “At this point it is about damage limitation.” providing direct access to expert staff funders – can be significant. Arts Centre Director working at national level. “Given that larger organisations are more likely to be attractive to potential investors and are more likely to have access to the skills and resources required to secure funding.” 116

115 Neil Mendoza, Department of Culture, Media and Sport, 116 National Assembly for Wales, Culture, Welsh Language 117 Nesta, The New Art of Finance, Making Money Work The Mendoza Review: an independent review of museums in and Communications Committee, Building Resilience Inquiry Harder for the Arts, (July 2014) England (14 Nov 2017) into non-public funding of the arts (Mar 2018)

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 82 July 2018 Key Contexts

The Social Case for Investment Building upon the Social Impact Investment Nesta’s report, The New Art of Finance, “To say to people who are fighting for jobs Taskforce, established under the UK’s further emphasises this opportunity “Arts that art and contemporary art are important, presidency of the G8, the GSG organisations could benefit from engaging is a brave decision and a necessary one.” independent Global Steering Group was investors who want to combine financial, Roger Maggs, Chair of Port Talbot Waterfront set up in 2015 to catalyse impact social and artistic impact.” 121 122 Enterprise Zone investment and entrepreneurship to benefit people and the planet. The GSG currently Impact Investment offers financial exposure Impact Investment has 15 member countries plus the EU and to socially-minded businesses, while The growth of Impact Investment, allying brings together leaders from the worlds of quantifying and qualifying the instrumental financial return with the intention to finance, business and philanthropy. and intrinsic impact of the arts is an generate positive social or environmental age-old dialogue, it is clear that the Welsh change, currently accounts for at least Yet, despite this emerging global arts sector, at least, has not to date £150bn of committed capital in impact movement, the vast majority of such strategically positioned itself within the investments in the UK alone. 118 This is investments are to date geared toward Impact Investment space explicitly, despite underscored by the existence of a diverse exposing socially-minded business (i.e. carrying out socially valuable activities. ecosystem of specialist intermediaries in social enterprises) to financial markets and To do so requires the rejection of familiar impact investment. 119 The UK Department investors. The British Council’s Director of questions about the distinction between for Culture, Media and Sport has identified Social and Creative Economies, Mairi intrinsic and economic and wider significant latent capital from both retail MacKay suggests that arts organisations instrumental justifications of culture and and institutional investors currently readily have not joined with social enterprises to concerns about how to measure such available to support future growth and the actively cultivate these markets, networks longitudinal, amorphous impact. UK National Advisory Board has quantified and leaders at a strategic level – “the Social this, suggesting that over the next decade Enterprise sector has not until recently in the region of £300bn could be ensured that creative enterprises and channelled into Impact Investments that are creative processes are at the core of the helping to directly address critical social argument for social change. There is a much and environmental challenges. 120 more integrated way of thinking about this agenda that includes social and creative enterprise working together to unlock a

radical new system, an inclusive and 121 Nesta, The New Art of Finance, Making Money Work 118 HM Treasury, Tracey Crouch MP, and Stephen Barclay MP, creative economy.” Harder for the Arts (July 2014) Growing a Culture of Social Impact Investing in the UK 122 British Council’s recently launch of the Developing (Government Department of Culture, Media and Sport, Inclusive and Creative Economies (DICE) Programme is Nov 2017) focusing on those enterprises working at the intersection of 119 Ibid social and creative enterprise to address some of society’s 120 UK National Advisory Board on Impact Investing, The Rise most entrenched challenges including gender inequality and of Impact: Five steps towards an inclusive and sustainable youth unemployment. This is a nascent sub-sector that is economy, (Oct 2017) designed in part to attract new forms of private investment

83 Key Contexts

Health and Well-being Agenda There is now good evidence for the positive In the course of this study, 27 National Creative Learning Through the Arts The publication of the Oxford University impact of arts participation on health Health Service (NHS) organisations across programme, in a partnership with Arts Press Public Health Textbook on Creative ranging from formal art therapy, to artists North West England (Cheshire and Council of Wales, supported by equal Arts, Health and Well-being 123 in 2016 and working in health contexts, to arts as a Merseyside) announced their commitment investments of Arts Lottery and Welsh the All-Party Parliamentary Group on Arts, therapeutic support for people with a to developing a social prescription plan. Government Department for Education Health and Well-being Inquiry Report cancer diagnosis or with long term The plan will initially focus on new and and Skills funding, totalling £20m over Creative Health: The Arts for Health and conditions such as dementia. There is also expectant mothers, using arts and health five years. Initial evaluation is very positive Well-being 124 in 2017 reflects the fact that a growing body of evidence that cultural partnerships to give children the best start and clearly this programme has this domain is now recognised globally as a attendance without taking part in activities in life, and is hoped to form the basis for considerable potential. 128 priority area for both the arts and for public i.e. simply visiting a museum or art gallery general social prescribing for all stages of health. For public health, this is because or going to a live concert – has such an life across the England. More widely, the AHRC study found that there is a recognition that great and impact on health and well-being that there is a strong case that engagement growing issues of our time are no longer regular attenders live longer than non- Wales has already recognised, in the Jay with the arts helps foster reflective clean water and infectious diseases, but attenders. 126 This work, carried out by Report the importance of reducing cultural individuals and engaged citizens and social inequalities in health, obesity and epidemiologists, suggests that this effect is inequalities, and the role of the arts in supports members of minority ethnic psychosocial issues associated with loss of not the result of healthy people being more creating a more just society. Maximising groups in exploring and expressing their meaning, loneliness and isolation, culturally active or of the social or physical the health impact of the arts by delivering identities. The recommendations in this particularly but by no means exclusively side effects, but of the enriching emotional tangible, dynamic programmes as part of report are based on a vision of the arts amongst the elderly. This requires a more and meaningful engagement with culture. the National Contemporary Art Gallery playing an inspirational role at every stage holistic approach to societal health and Studies have shown, for example, that this Wales’ portfolio would make a significant of people’s lives, building on the existing well-being, with a focus on systems and effect disappears when cultural attendance contribution to achieving these goals. infrastructure and major programmes like social networks, promoting activities which stops and resumes if attendance starts Creative Learning through the Arts. enhance both individual resilience and again. 127 The recommendations in this Education, Creativity and Citizenship Combined with the widely acknowledged good relationships, trust, cooperation, report are designed to promote cultural According to the 2016 AHRC funded study need for future workers to be more mutual awareness and acceptance. 125 activity and attendance throughout the into the Value of the Arts, ‘arts in education adaptable and the specific opportunities life-course. has been shown to contribute in important in the creative economy, these all add up to ways to the factors that underpin learning, a strong case for the arts being at the such as cognitive abilities, confidence, centre of Welsh Government policy. motivation, problem-solving and 123 Stephen Clift and Paul Marc Camic, Oxford Textbook Of Creative Arts, Health, And Well-being (Oxford, Oxford University communication skills.’ This has already Press, 2016) 126 Mark O’Neill, Cultural Attendance And Mental Health been recognised by the Welsh government, 124 All-Party Parliamentary Group on Arts, Creative Health: – From Theory To Practice, Journal Of Public Mental Health 9 The Arts for Health and Well-being, Health and Well-being (2011) 22-29 through the launch in March 2015 of the Inquiry Report (July 2017) 127 SE Johannson, BB Konlaan, and LO Bygren, Sustaining 125 Phil Hanlon and Sandra Carlisle, The Fifth Wave Of Public Habits Of Attending Cultural Events And Maintenance Of Health And The Contribution Of Culture And The Arts, Oxford Health: A Longitudinal Study. Health Promotion International 16 Textbook Of Creative Arts, Health and Well-being (Oxford, (2017) 229-234 128 Evaluation of the Creative Learning through the Arts Oxford University Press, 2016) 19-26 programme, Wavehill (Mar 2018)

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 84 July 2018 Key Contexts

The Social Case for Investment Implications and Opportunity 1. There is an opportunity to leapfrog the dialogue exploring the distinction between the intrinsic and instrumental value of art, and instead build a programme designed to inspire and empower the creative citizen. Discussions about the value need to be re-framed, and there is at this moment a marked opportunity for Wales to recalibrate how it can best embed creativity at the heart of solutions to society’s most entrenched challenges.

2. The Welsh cultural sector could explore how to capitalise on the growing headwind behind Impact Investment, alongside other aligned agendas, as it considers its own funding model, and the social challenges it wishes to tackle in new, creative ways in the years and decades to come.

85 Sector Ambition

The Language of ‘Barriers and However, it is not only the sector that lacks its visual culture to its own people and Challenges’ confidence around the visual arts. The to the world.” 130 Peter Lord The consultees’ language was notable for press has played a role in exacerbating the regularly emphasising the barriers and challenge narrative. This goes back as far Moreover, the successes of the sport, challenges to delivering an ambitious new as 2000, but is a narrative continued today. performance and music sectors are national entity. Perceived and real access A large number of consultees highlighted glorified and often used in comparison issues around Wales were identified as key that the Centre for Visual Arts (CVA), which to the visual arts. barrier with almost all consultees. opened in Cardiff in 1999 but closed two years later, was doomed to fail. (Further “When James Richards was shortlisted for “The biggest barrier is Wales’ geography detail is provided in the next section). the Turner Prize – there was no pride in this; and topography. It divides the country.” or when Cerith Wyn Evans showed at Tate, Gallery Director “When city authorities – and in the case the Welsh Assembly should have been of Cardiff, national governments – try to making sure this was hugely visible to the It was recognised that there are disparate regenerate a city by mixing up architectural, Welsh public! If it had been Michael Sheen regions and regional communities in Wales, artistic and leisure projects, the results can or someone singing in Times Square it and while this is a challenge, it could be be catastrophic. Sheffield ends up with a would have been all over the press. There is addressed positively. National Centre for Popular Music (aka the no sophisticated interest in the visual arts.” Unpopular Centre for National Music) whose Artist “[In Wales we need to think about the] shiny Nigel Coates design cannot conceal dynamics not the deprivation.” the poverty of its displays; Newcastle gets “Artists are mediating other Welsh Arts Organisation Director a vast, pointless life-science centre; obsessions. It is never art for itself. It is Greenwich gets the Dome. What these always ‘art sauce’ over a subject like Other consultees suggested that there was follies have in common is a patronising coal-mining. They don’t have confidence an anxiety around change, given the small conception of popular culture.” (On the CVA) in their Welsh artists.” Artist pool of professionals that have been working in the sector and the nature of the “With hindsight, the Centre for Visual Art funding model and reliance of public was never going to make it here.” 129 subsidy in Wales. “Once again (and perhaps uniquely in “Any initiative like this will be perceived as Europe), Wales finds itself a nation without a threat. Challenges of new organisations a readily accessible book that describes to existing and senior people in their roles; it’s a threat to their jobs.” Gallery Director

129 Jonathan Jones, The Regeneration Game (The Guardian, 130 Peter Lord, The Tradition: A New History of Welsh Art, 16 Oct 2000) 1400-1990 (2016)

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 86 July 2018 Sector Ambition

The Language of ‘Barriers and 3. There is a requirement to build Challenges’ confidence in the visual arts sector Implications and Opportunity around what has been achieved so far 1. The lack of direct and effective public and to fully utilise key successes in the transport systems between parts of visual arts. Wales can cause challenges, particularly for those that do not have access to a private motor car; yet the pilgrimage to art can become an experience unto itself, with the landscape as an integral part of the journey. Particularly in a time where access to universal, globalised digital culture is available at any time from anywhere, Wales’ geographic barriers could be positioned as an unparalleled asset. Wales can offer something that is not accessible anywhere else in the world.

2. Romanticism aside, the barriers to accessing transport are real. Any national entity must be truly national, enabling those to access their nation’s culture and collections with relative ease – rather than at the expense of time and money. Consideration should be given to positioning the arts along the Wales Ways and other primary, well-used routes between communities, as well as providing access to the arts alongside other popular attractions across the country.

87 Sector Ambition

Consulting fatigue The complexity of the decision by the Centre so half-heartedly that it’s hard to a national gallery of contemporary art “What a drastically bad decision those international committee in Wales has been believe they wanted a modern art gallery at extensively in the past. Given many have Welsh guys made. I mean, really stupid. explored in a number of papers and all. Instead of nurturing an audience for new been consulted on a number of national They had this fabulous architect with this reflected on regularly by Hadid herself art, the CVA acted as a proof to cultural reviews, and have witnessed the failure fantastic design and they blew it, they just before her untimely death. 131 conservatives that Welsh people don’t want of many of the recommendations to completely blew it. And one could boycott this modern art rubbish, see.” 134 materialise, 136 many are concerned that this Wales forever really just on that basis. The 2008 ABL report (The future display of will ultimately be an academic exercise. Why not?” Piers Gough, Architect visual art in Wales – Options Study for a The CVA’s closure was followed by three National Centre for Contemporary Art) was subsequent studies evidencing the need “The appetite amongst the artists Reverberations from decades-old latent the last of many reports making the case for a national centre of contemporary arts community and art lovers is a big one. attempts to build a national arts for a centre for contemporary art in Wales, before the ABL report was published. We’ve been asking for this a long time. organisation, including a contemporary art including discussions from as far back as Discussion about a world-class visual arts There have been feasibility studies before. gallery, remain in the discourse. Many 1986 leading to the 1992 feasibility study. 132 venue reopened in 2013 about whether Is it just another feasibility study that won’t consultees consider any new national That study resulted in the opening of the Wales might be a viable locale for the next lead to anything?” Artist gallery as “high risk” and most had Cardiff Centre for Visual Arts (CVA) in Guggenheim franchise. 135 While this questions about who the ultimate decision 1999. The CVA’s closure two years later partnership was ultimately not realised, the “I think the feasibility study has opened up maker would be for determining if and how in 2001 was the subject of a review by debate about its potential, and the ambition the feeling of possibility – there are so recommendations are pursued. the National Audit Office Wales. 133 for the sector still lingers in discussions. many stakeholders, opinions, feelings of The Guardian covered the closure, entitlement. What could it be? What should Wales passed up the opportunity in 1995 further emphasising the failure, and its root Moreover, there has been a series of recent it be? That’s only going to be heightened to realise Zaha Hadid’s winning design for causes, “Cardiff’s political establishment publications that have required cultural because of CVA.” University Partner a new home for the Welsh National Opera went about the business of establishing the professionals to contribute extensive and in Cardiff Bay – a design that many considered input. These include Arts consulted agree would have whetted the 131 Nicholas Crickhowell, Opera House Lottery: Zaha Hadid Council of Wales’ Investment Review(s) seemingly insatiable appetite for and the Cardiff Bay Project (1997). Award-winning business (2011, 2016), and the Building Resilience: woman Zaha Hadid hits out at ‘prejudice’ over doomed Cardiff spectacular, thoughtful architecture Bay Opera House project (Wales Online, Paul Rowland, 2013), Inquiry into Non-public Funding of the Arts housing world-class art. The design, Hugh Pearmen, The Sunday Times Architecture Critic appearing (2018), among others. in Documentary from Alan Yentob (Imagine, BBC) about Zaha with capital costs estimated at between Hadid. Opera house design winner rebuffed (The Independent, £45-60m in 1995, was eventually used to Jonathan Glancey, 1995); Albena Yaneva, Mapping Not surprisingly a large proportion of Controversies in Architecture (Routledge Publishing, 2016) build the critically-acclaimed Guangzhou 132 David Pratley, The Review of Art Galleries and Permanent stakeholders are experiencing consultation Opera House in China (2010). Today the Exhibition Spaces in Wales (2001) found that expenditure per fatigue, having explored the potential for capita on running visual arts exhibition spaces in Wales was Guangzhou Opera House has “been 30% less than expenditure in England and 42% less than credited with transforming a Chinese city expenditure in Scotland; DCA Consultants and Peter Jenkinson 136 For example, the Pratley (2001) report stated, “Key OBE, The Display of Art in Wales (Jan 2006) 134 Jonathan Jones, The Regeneration Game (The Guardian, weaknesses identified were the inability to tour exhibitions with a population more than four times the 133 Arts Council of Wales: Centre for Visual Arts – Report by 16 Oct 2000) effectively because of a lack of spaces and lack of capacity and size of Wales into a cultural capital.” the National Audit Office Wales on behalf of the Auditor General 135 Adam Price, Why a Welsh Guggenheim Makes Sense (The skill to improve visitor numbers” the latter of which is an issue for Wales Guardian June 2013) still being cited 17 years later

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 88 July 2018 Sector Ambition

Consulting Fatigue Implications and Opportunity 1. Despite the reservations, however, across the study there emerged a powerful and widely-felt ambition and enthusiasm to trail-blaze a new model for the display of contemporary art in Wales that bolsters the existing ecology and ensures Welsh art takes its rightful place on the global canvas.

2. The majority agreed that Wales has a remarkable opportunity, if not an imperative, to nurture creativity and embed world-class, relevant contemporary art into the lives of the Welsh people.

89 S Mark Gubb, Revelations: The Poison of Free Thought Part II, commissioned by g39. Source: g39 3. Purpose and Vision Purpose and Vision

“Failure to engage [with culture] has While the function of any new national “A quarter of the population of Wales lives in consequences for the economy as well as gallery for Wales is to collect and preserve circumstances which are so disadvantaged for the individual, particularly in the context collections for future generations, given that they are among the very worst in the of the creative and communication Wales’ history and the Welsh Government’s UK; persistent, inter-generational industries as the great powerhouses of the focus on taking action and ensuring equal unemployment, high levels of chronic illness, future economy. It is not simply about opportunities and access to the arts, a new low wages and low skills have all intensified life-enrichment; by not engaging with what National Contemporary Art Gallery Wales social and cultural exclusion.” cultural knowledge and activity can provide, has the potential to take a different avenue people and communities lose out in terms of and focus on its people, its artists and its This is echoed in An independent report for rights, jobs and citizenship. Wales loses sense of place. the Welsh Government into Arts in social capital and it cannot afford to do so.” Education in the Schools of Wales: Culture and Poverty: Harnessing the power of As one political leader stated the National the arts, culture and heritage to promote social Contemporary Art Gallery Wales is in prime “The tragedy is that these communities are justice in Wales, Baroness Kay Andrews OBE, position to add value to the Welsh people’s not only losing out economically; economic March 2015 lives: and social exclusion means cultural exclusion as well. The things that enrich our Purpose “While there is an argument to build a lives and bring such pleasure – whether that Across the world, a large majority of school or hospital, it is bread and roses. 137 is the visit to the theatre, cinema, or gallery national galleries state that their primary For many, the visual arts is the most or cinema remain out of reach to many.” 138 purpose is ‘to display and care for the accessible form of encountering culture… Professor Dai Smith, 2013 nation’s collections’ (Appendix 7). Our it’s about cultural empowerment” research has shown the mission and vision As the conclusions of Dai Smith’s report statements of these national galleries are The Welsh Assembly’s recent publications and The Young Foundation’s Valuing Place focused on their functions: preservation, about arts and culture paint a stark picture Report make clear, providing access to care, scholarship, collecting and display of the societal implications of denying cultural experiences and co-developing (Figure 30). There is a notable lack of cultural access. Culture and Poverty: policy with communities is critical to mention of the role and value of art to Harnessing the power of the arts, culture addressing issues of rising inequality and society, of audiences, social engagement, and heritage to promote social justice in creating new solutions to society’s most access, equality, or its role as a catalyst for Wales (Baroness Andrews, 2014) states: entrenched challenges. creativity and/or innovation.

137 “Bread and Roses” is a political slogan that originated from a speech given by Rose Schneiderman; a line in that speech (“The worker must have bread, but she must have roses, too.”). 138 Baroness Kay Andrews OBE, Culture and Poverty: Bread represented a living wage; roses referred to workers’ Harnessing the power of the arts, culture and heritage to desire for dignity of life and respect. promote social justice in Wales, (March 2015) 8

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 92 July 2018 Purpose and Vision

Figure 30: Word cloud showing frequency of words within visions and missions of a selection of national art galleries across the world Source: Event, 2017

93 Purpose and Vision

Towards a Vision • Build on Wales’ strong legacy • Introduce and continue a current • This could include using artists, other It would be pre-emptive to put forward a of creativity; dialogue on contemporary art, artistic creatives and community members as crystallised vision at this stage. However, • Broker authentic intersectoral practice and curatorial practice locally mediators or ambassadors. the ambition is that: relationships; and internationally; • Nurture the next generation of cultural • Use modern visual and applied arts in Support functions The National Contemporary Art Gallery leaders and professionals; combination with contemporary artworks • Build realistic and pragmatic marketing Wales will spark and nurture creativity • Nurture the next generation of investors, to frame, develop conversations and and fundraising costs into core and embed world-class, relevant, board members, patrons and partners; debate about contemporary arts; operational expenditure and strategy imaginative contemporary art into the • Play a strategic and unifying role across • Enable greater democratic access to the at the earliest stages; daily lives, landscape, work and lexicon of and outside of Wales; national collections across Wales and • Undertake rigorous evaluation and Welsh citizens today and for generations • Mobilise support and ensure that the increase the number of artworks evidence impact, setting up systems for to come. Gallery is pivotal in local, regional, and displayed; evaluation at the outset and designated national conversations. • Collect, commission and co-commission clear points in a five year period in which It is crucial that the future executive artworks from emerging, mid-career and to assess the development of the leadership build and own a deliverable Identity and positioning established living artists. preferred model. strategy, vision and set of values. Moreover, • Position Wales and the best of Welsh art the future strategy must be built in on the national and global stage; Engagement and education Talent recruitment collaboration within communities and with • Drive excellence in the Welsh visual and • Roll out a clear and ambitious education • Ensure recruitment for curatorial, the up and coming generation at the table. applied arts by presenting, discovering, and engagement philosophy that goes education and marketing teams focuses That said, the Steering Committee agreed developing and discussing talent; beyond the traditional models and on identifying collaborative individuals several key priorities that should form • Drive thought-leadership in contemporary becomes more integrated with local that understand how to sensitively and the backbone of the new entity. It is art; community educators as seen at the creatively connect with a wide-range assumed that all of the proposed options • Provide a platform for collaborative, National Theatre Wales; of communities. (Appendix 6) would be positioned to deliver socially-engaged practice; • Develop a communication strategy for these priorities. • Be authentic to Wales; the visual arts sector, audiences and • Provide a platform for imaginative, stakeholders; Leadership singular experiences that reflect the • The educational philosophy • Develop shared ambition for nurturing culture, society and landscape of Wales. and approach will be consistent and creative citizens in Wales through a ambitious across all models – national contemporary art gallery; Content and collections a combination of onsite formal • Drive thought-leadership in collaborative • Provide artists and creative communities and informal learning, and crucially a working, socially-engaged creative a platform on which to experiment and programme of outreach/inreach, working practice and inclusive and creative create; directly with communities outside a economic development; physical building and co-developing programming;

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 94 July 2018 Purpose and Vision

Platform for artistic experimentation, Palais Art Everywhere collaborative project to Community workshop, with guest curator, Co-curated exhibition, Journeys to ‘The de Tokyo, Paris display 57 British works of art across the Mike Tooby, Turner Contemporary, Wasteland’, Turner Contemporary, Margate Source: Event, December 2017 UK for two weeks. No.1, Victoria Road, Margate, development of Journeys to Source: Event, 2017 Rhymney, Caerphilly. Head VI, 1949, by ‘The Wasteland’ Francis Bacon. Arts Council Collection Community-led pop-up exhibitions across Source: Robin Drayton, 2013 Margate National Theatre Wales, TEAM network Source: Event, 2017 group of collaborators Source: National Theatre Wales

95 Holly Davey, The Conversation, mixed media installation, at g39, Cardiff, 2017 Source: Holly Davey 4. The Options The Options

“If there is to be a future for Wales – and I think there’s a huge future for Wales – I’d like to see some slightly more progressive thinking, rather than aping something that has already happened in Europe, the United States and in England... Of course, you could make an interesting new building in Aberystwyth or somewhere, and why not? You’d have to be out of your mind to be against it. I just think it’s a conventional, old fashioned way of thinking and I’d rather see a different sort of investment in a new future for Wales.” Stephen Bayley, Cultural Critic

Options Development and Assessment Profile • International tourists; • Higher Education, including Art Schools; The Options Analysis provides an ordered • Bolster the visibility of the existing • Cross border communities. • Artists; but flexible approach to decision making. cultural infrastructure in Wales; • Visual arts sector; The process is defined by a weighted, • Differentiate Wales (but not for Provide ease of access to the national • Wider cultural sector; multi-criteria analysis, and allows the differentiation’s sake). collections for: • Non-arts based practice e.g. science; benefits, implications and risks of the • Disadvantaged communities; • Commercial sector; options we have identified to be evaluated Fit with vision/values of key stakeholders • Welsh language speaking communities; • Visit Wales; alongside one another. Unlike financial • Welsh Government / Well-being of Future • Welsh rural communities; • Local authorities; criteria, which are often seen to be Generations; • Welsh urban communities; • Private developers; objective, this analysis integrates • Arts Council of Wales; • National tourists; • Investors and philanthropists. quantitative and qualitative assessment, • Amgueddfa Cymru; • International tourists; dependent on the judgement of those • Visual Arts Galleries Wales (VAGW) and • Cross border communities. Financial viability undertaking the scoring exercise in this the broader cultural community; • Have a positive effect on the funding of case, an independent review. • Local Government; Interpretation and Display the existing arts ecosystem. • Public Health. Enable the display of contemporary art: The criteria and weighting were built upon • Within an art historical context; Capital the findings presented in the previous Audience Access • Amongst multi-disciplinary collections; Demonstrate potential for: chapter, as well as the values and priorities Provide ease of access to the • In the landscape; • Attracting public support (HLF, ACW, emerging from conversations with contemporary visual arts experience for: • In non-traditional venues; Local Authority, Welsh Government); stakeholders and key documentation. • Disadvantaged communities; • Alongside / in dialogue with other art • Attracting commercial investment; • Welsh language speaking communities; forms. • Attracting private (i.e. foundation/ The detailed criteria are presented here: • Welsh rural communities; individual) support; • Welsh urban communities; Strength of Partnerships • Maximising existing cultural assets in • National tourists; Allow for strong partnerships with: Wales. • Primary / Secondary Education sector;

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 98 July 2018 The Options

Market viability (Welsh economy) Residual Risk After Mitigation

Maximising existing cultural assets in Contributing to cultural tourism; Have the risk of instigating; Wales; • Attracting residents; • Tarnished reputation for key stakeholders • Attracting public support or limiting • Attracting inward investment; and Wales; subsidised on-going revenue costs; • Attracting commercial trade; • Financial losses. • Attracting commercial investment; • Attracting art students; • Attracting private (i.e. foundation and • Attracting artists / contributing to cultural Twelve options were developed (Figure 31) individual investor) support; production (as well as consumption); and designed iteratively with criteria above Options workshops with members of the • Maximising earned income opportunities; • Creating new employment opportunities. to meet the ambition to establish a high- visual arts sector in Cardiff. Attendees • Easing resource challenges; profile, world-class, ambitious national included representatives from the • Unlocking new funding streams; entity of contemporary arts of and for Amgueddfa Cymru, Arts Council of Wales • Leveraging the collaborative economy; Wales. These options built upon the and Visual Arts Galleries Wales (VAGW) • Necessitating higher running costs for Offer potential for short-term visible findings presented to the Steering Source: Event, February, 2018 collections distribution. impact; Committee in February 2018 and were • Offer potential for long-term impact. developed in collaboration with a subset of the Steering Committee and representatives of Visual Arts Galleries Political support; Wales (VAGW). • Visual arts sector support; • Support from existing arts audiences; Transport options for visitors; These are summarised in the following • Support from marginalised existing and • Transport options for collection objects; pages. Detailed descriptions of the twelve potential audiences. • Capital expenditure; models can be found in Appendix 6. • Building running costs.

Operating costs 99

AlignEnsureSeem(LowDemonstrate scorewith likely the other environmental=to potentialmore receive: developments risk) for: footprint in market: is PoliticalTimeframeEnvironmentallow• for: Sensitivity Sustainability and Support • The Options Summary

Model Description Sharing Contemporary Arts Partnership A refreshed model that revisits and builds on the successes and learnings from the Sharing Treasures Programme (2002-2014/15). It encourages co-curation and, through sufficient resource, ensures that visual art works from the national collection(s) are made available to a number of selected visual arts organisations across Wales.

Charm Bracelet A select group of modern and contemporary visual art and design galleries (6-8 organisations) receive a semi-permanent extension to their physical site that is branded as the ‘National Contemporary Art Gallery Wales.’ A single curatorial programme threads its way through each of the associate sites. The galleries in the network would establish an equal partnership to work together to deliver a national body of work.

Visual Arts Family A select group of modern and contemporary visual art and design galleries strategically align under one governing body. Each associate site is responsible for its own curatorial approach, but there is a collective approach. Each gallery will be branded as part of the National Contemporary Art Gallery Wales.

Network Members Club Defined by thought-leadership and collaboration, this strategic network takes the form of a members club for the visual arts sector. The network pro-actively seeks opportunities to enable and promote watershed moments in contemporary visual arts, and offers a robust and creative knowledge-exchange programme.

National Canvas A land, country-wide focused national gallery comprising ambitious temporary, semi-permanent, or permanent artistic commissions and projects across Wales. The National Canvas would be defined by a vibrant commissioning model and would draw on the Wales Way, three tourist routes being promoted to domestic and international tourists.

Circus A physical entity that tours the same exhibition from town to town, place to place across Wales. It annually or biannually can return to the same areas building a legacy year on year.

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 100 July 2018 The Options Summary

Model Description Extension An extension to the National Museum Cardiff. It is designed to showcase modern and contemporary art and design works. The extension houses the permanent display of the national modern and contemporary art and design collection and provides temporary spaces for an experimental artistic programme and a series of welcoming social spaces.

Outpost in the Capital A sister gallery to the National Museum Cardiff, this Contemporary Art Centre provides ample space for the display of ambitious contemporary art within Cardiff.

Outpost Outside the Capital A sister gallery to the National Museum Cardiff, this Contemporary Art Centre provides ample space for the display of ambitious contemporary art outside of the capital.

Hive / This is a vibrant mixed-used venue and creative hub, with multiple affiliates co-located on a single site. Co-location Affiliates have opportunities to collaborate and interact as much as work independently. It is a manifestation of the cultural supply-chain under one roof from training and production to cultural consumption and showcasing.

Merger Two or more complementary and relatively equal organisations operating in the cultural and visual arts sector merge formally to jointly deliver a national entity of contemporary art.

Do nothing The Amgueddfa Cymru and visual arts sector continue as usual with no investment in or further development of a national entity of contemporary arts at this time.

Figure 31: Longlist Options Source: Event, February 2018

101 The Options

In addition to being interrelated, the models Most significantly, the aim was to ensure were also designed to be developed in that any new ‘gallery’ is of and for the sequence, building on one another. people of Wales and will increase access to the nation’s growing collection of For example: contemporary art and design works. • Developing the Sharing Contemporary Additionally, any new ‘gallery’ should raise Arts Partnership and then building an the profile of the visual arts in Wales and Extension to the National Museum provide a strong pull for cultural tourists. Cardiff; For that reason, and a series of additional • Developing touring exhibitions (the Circus operating constraints, Event did not include model) and then building an outpost the late 20th-early 21st Century high- outside the capital; profile models of national museum design. • Establishing a network members club for These include The Overseas Partnership arts organisations within the visual arts Model (British Museum/Sheikh Zayed) and sectors and then develop a set of The Franchise Model (Guggenheim). extensions to existing galleries (the Charm Bracelet model). Additionally, the Standalone Model (independent institution from Amgueddfa For each model, Event has outlined the Cymru) is discounted as it would directly following detail, provided in Appendix 6: compete with the Amgueddfa Cymru family. • Model Description; • Quotations from our consultations that support the model type; • Capital Requirements; • Operational Components; • Partners; • Timescale; • Added Value to Wales; • Strengths; • Weaknesses; • Risks and risk mitigation.

Karen Mirza and Brad Butler, You Are The Prime Minister (2014). Image courtesy the artists. Source: Helen Warburton National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 102 July 2018 5. Recommendations Recommendations

“Landmarks…in the landscape contribute to The recommendations approach the idea community participation as a creative tool Pepper, Michael Heizer, Milton Becerra and sense of place by providing an icon to which of a national gallery in a new way for a new to achieve greater cultural democracy and Jacek Tylicki. symbolic meaning can be ascribed.” century: devolving funding, sharing the positive social change. Frank Vanclay, 2008 nation’s art across the nation, bolstering Crucially, however, the approach proposed and connecting existing visual arts assets, A Curatorial Research Group will come here is that the portfolio of 50 commissions “Put at its most brutal, the choice seems and deploying the landscape itself as the together to develop and curate the works. will be co-developed strategically across devastatingly plain. It is either to work to medium and the canvas. Each member submits or commissions a Wales’ expansive geography. Emerging, develop a fluid, broadening definition of art single artwork and supports the journey of mid-career, established Welsh and related to the mass media of today as well The recommendations are as follows: each piece to its location, whether a loan international artists, in partnership with as to the aristocratic media of the past, or to item from the national or an international communities and open-minded curators accept the continued use of the narrow Recommendation one collection or a commission developed with and producers will be the core creative concept [of art] that will steadily become Event recommends a progressive, evolving communities and contemporary artists. engine charged with considering how best more remote from the key cultural questions and scalable strategy that collectively is the to integrate environment (rural and urban), of the technological age.” Ken Baynes, National Contemporary Art Gallery Wales. While the National Canvas is a pioneering art and ideas. We are not recommending The Art and Society Project of the Welsh Arts The Gallery comprises three interlinked approach to public curating and national, parachuting in large-scale, permanent Council, 1973 phases (Figure 30) that together create democratic access to contemporary sculpture. Instead, this recommendation new forms of beauty, cultural experiences culture there is the potential for a aims to embolden artists and communities Rather than endorsing a single new building and pilgrimage: remarkable legacy of artistic projects to explore how creativity, landscape, and to house and display contemporary art in embedded in landscape and non-traditional public spaces can intersect to create new Wales, we recommend a world-first – Phase one venues. The proposed approach for Wales forms of beauty and challenge how we see, a dynamic national model that combines The Gallery will commission 50 temporary, builds upon the creative integrity (and, work, communicate and experience our a series of interlinked locations across the semi-permanent or permanent new works often, the audacity) of this type of work, surroundings. nation, heralded by a ‘National Canvas’ – to be installed across the five regions of innovated by artists in the Land Art (or a series of newly commissioned Wales, co-developed by audiences, existing Earth Art) movement of the 1960s and contemporary artworks embedded in visual arts organisations, community 1970s (Robert Smithson, Spiral Jetty, 1970; communities across Wales. Together, these organisations, curators and artists, and will Nancy Holt (Sun Tunnels, Great Basin new and overlapping initiatives would be be defined by 6-8 geographical clusters. Desert, Utah, 1973-6; Alice Aycock; Walter intended to galvanise artists, showcase De Maria; Nils-Udo), ongoing projects Wales’ unique environment, wrap The co-creation approach builds upon (James Turrell, best known for the Roden communities into the artistic conversation, existing work of cultural organisations and Crater, a natural cinder cone crater located and show a bold and internationally social foundations, including that of outside Flagstaff, Arizona that he is turning eye-catching sustainable commitment to Amgueddfa Cymru, Ideas: People: Places, into an expansive naked-eye observatory), nurturing creativity through contemporary and National Theatre Wales who have and established contemporary artists, such art practice and experiences. actively cultivated a network of as David Nash, Christo and Jean Claude, ambassadors across the nation and used Richard Long, Betty Beaumont, Beverly

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 104 July 2018 Final Recommendations

105 Recommendations

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 106 July 2018 Recommendations

Figure 32: Recommended scalable and phased approach (indicative locations and artworks only) Source: Event, April 2018

107 Recommendations

Phase two Phase three By way of comparison the capital costings programme development, fundraising, The National Contemporary Art Gallery The final interlinked phase will be the presented here to deliver a contemporary marketing, stakeholder engagement, Wales will also be defined by a distributed building of A National Contemporary Art art offer for an entire nation are in the same advocacy, national and international set of 6-8 galleries across the nation. Gallery Wales headquarters, a permanent, cost range as stand-alone cultural facilities profiling, and impact assessment. While maintaining their core identity, sustainable and unifying space serving in the UK, such as the Design Museum programmatic remit and approach and as a porous and vibrant platform for (£83m), V&A Dundee (£80m; announced), physical footprint, the organisations that contemporary art. This hub will enable Wales Millennium Centre (£106m) become part of this National Contemporary Welsh citizens and tourists to experience Manchester Factory (£110m) and the Tate Art Gallery Wales will be branded as such. immersive world-class new art created Modern extension (£260m) (Figure 20). They will be further distinguished by the by living artists in Wales and abroad by construction of site-specific, semi- actively brokering relationships with a For the delivery of Phases one and two, permanent extensions, refurbished global network of creators. This hub should we recommend a national shared resource galleries or the building of a neighbouring be designed to include flexible spaces, model, with a centralised hub. The hub structure. They will collectively showcase allowing for visitors to create, observe, need not be physically located in any the nation’s growing collection of reflect and produce. This allows for specific gallery and would be designed to contemporary art and have the physical architectural requirements to be ensure partner venues and communities capacity and additional staffing and established from scratch and a gallery benefit from increased capacity, expertise financial resource to display large-scale completely fit for purpose to be developed. and facilitated national dialogue and international touring exhibitions. It could be located in a rural or urban area. planning. These requirements and a detailed Interested partners will be welcomed into understanding of how the potential of this This hub would be defined by a a scoping and advocacy phase, including institution would be realised would be collaborative leadership team who would engagement with the Boards and informed by learnings from Phases one regularly float between venues and sites. Governance structures to explore how and two (Figure 36). The team would be charged with co- the model could be realised effectively. developing and positioning the full National The identities of individual organisations Indicative costs suggest the capital spend Contemporary Art Gallery Wales, defined should remain strong, yet the ambition to deliver all three phases will be in the as The National Canvas, The Distributed should be to create a national, range of £80m to £180m. Scenario Gallery and the HQ. The leadership team decentralised, greater whole. Ultimately one (Figure 33) and Scenario two (Figure would build the case for support, and we suggest that the 6-8 partners from 34) outline indicative capital costs for all co-plan exhibition and co-planning and across Wales be selected via an open three phases. curating, collections development and application process, encouraging cross- conservation, educational and health sector and interdisciplinary teams to make the case for their venue and community.

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 108 July 2018 Recommendations

Scenario 1 Scenario 2 Phase Artist / Artworks Phase Artist / Artworks Curator/ Curator/ Creative Creative Site 3 Site 4 Producer Level Producer Level FTE: 5 FTE: 5 £95,000 One Emerging 15 One Emerging 22 £95,000

Mid-career 15 Mid-career 20 Site 2 FTE: 5 Site 5 Established 15 Established 5 £95,000 FTE: 5 FTE: 15 International 5 International 3 £95,000 £470,000 Total Artists 50 Total Artists 50 Shared resource Two 6 Two 8 (activities/expenses) Site 1 Three Yes Three Yes Site 6 FTE: 5 FTE: 5 Phase Low Medium High Phase Low Medium High £95,000 £95,000 One £5,410,000 £6,155,000 £6,750,000 One £3,940,000 £4,520,000 £4,900,000 Two £34,800,000 £63,000,000 £100,800,000 Two £46,400,000 £84,000,000 £134,400,000 Three £40,000,000 £42,500,000 £45,000,000 Three £40,000,000 £42,500,000 £45,000,000 Total £80,210,000 £ 111,655,000 £152,550,000 Total £90,340,000 £ 131,020,000 £184,300,000

Figure 33: Scenario one indicative capital Figure 34: Scenario two indicative capital Figure 35: Indicative annual running costs costs for three phases, showing scalable costs for three phases, showing scalable of Phase two: Distributed Gallery costs costs Source: Event, April 2018 Source: Event, April 2018 Source: Event, April 2018

109 Recommendations

The indicative annual operating larger organisations in the visual arts and Arts Council of Wales will serve on this expenditure for the centralised ecosystem). Committee. The Advisory Panel will have organisation co-developing and delivering a formal relationship with Amgueddfa Phases one and two, and establishing a Arts Council of Wales’ total annual Cymru’s Board of Trustees. Fellowship programme recommended allocation to visual and applied arts (£1.7m below, would be in the region of £2.7m revenue funding; 135 £520k project funding) minimum. Forecasted operating is less than what is proposed here. expenditure should be vetted and built However the operating expenditure upon a detailed bottom-up financial model proposed (£2.7m for Phases one and two) and business plan, recommended in a includes financial resource that will be subsequent phase of this Study. shared across The Distributed Gallery (i.e. 6-8 partner sites) and The National Canvas. The annual operating expenditure of a physical national headquarters (Phase “More than eight in ten adults (83%) agree/ three) could range anywhere from £2.5m agree strongly that there should be public and up (e.g. £15m), depending on the scale funding of arts and cultural projects.” of the operation, the physical site, and how Research Team, Arts Council of Wales, the team and programme is designed to 31st March 2016 interrelate with The National Canvas and National Youth Arts Advisory Group, The Distributed Gallery other 6-8 national Recommendation two Scotland (35 volunteers, aged 14-23 that galleries (Phase two). The next stage of An Advisory Panel is established to develop influence the next phase of Scotland’s the Feasibility Study requires extensive and drive the vision, concept and models national youth arts strategy, Time to Shine, business planning, based on modelling forward. It is recommended that panel guide Creative Scotland and the Scottish a number of scenarios (e.g. assumed members include experts from both in and Government on cultural strategy and programme, defined sqm, projected visit outside Wales, including those from the develop ways to connect young people and numbers, days open, location(s), etc.). other Home Nations, as well as Visit Wales, the arts) MALD, representatives of Visual Arts Source: Creative Scotland, 2017 The proposed indicative annual operating Galleries Wales (VAGW) and Welsh Local expenditure for the national entity (Figure Government Association (WLGA), investors Caban Crefft / Craft Cabin (a two-year 35) is significantly higher than the average and influencers. The new entity will have a Culture, Health and Wellbeing initiative annual operating expenditure of most visual high-profile steering committee with funded by the Health Lottery and run by arts organisations in Wales. (For example, strategic decision making authority; Arts Alive Wales). A co-creation project the ten Visual and Applied Arts Portfolio representatives of the Amgueddfa Cymru with artists with lasting impact for the clients have an average annual operating young people that take part budget of £490k, and these are most of the 135 Arts Council of Wales, Visual Arts Funding for Selected Source: Arts Alive Wales APWs

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 110 July 2018 Recommendations

Recommendation three Recommendation four like we can’t contribute, that is, its a closed including identifying and establishing In tandem, a National Youth Cultural The Advisory Panel and Youth Cultural book happening on high.” shared strategic ambitions with other Advisory Board is established, comprising Advisory Board oversee the development Welsh Government Departments, Business people across Wales, aged 9-26 invited and delivery of a series of collaborative Yet as open as these Workshops should be, and Economy, Tourism, Educations and through an ‘open-call’. The National Youth Concept Workshops to explore, further they must be well structured, evoke a spirit Skills, Environment and Countryside, Health Cultural Advisory Board will co-develop design and strengthen the three phases in of constructive criticism and result in and Social Services, Improving public and help shape the delivery plan for the the imminent future. The agendas for these tangible, deliverable outcomes. Services, International, People and national contemporary art entity. The Youth workshops will be co-designed, and Communities, Transport. Advisory Board demonstrates a clear depending on the topic, participants should Recommendation five commitment to empowering the next be leading and emerging artists, curators, The Advisory Panel recruits and appoints a In addition, Local Governments, assessing generation of artists, creative thinkers, gallery directors, teachers, young people, remarkable, accomplished collaborative the Welsh diaspora, through conversations patrons, board members and investors to and community activists. Representatives director to develop and drive this concept with the Impact Investments sector, Arts & design their version of a relevant national from the health, tourism and transport forward. The sequencing of this may Business Cymru, The Art Fund and the contemporary art gallery. It is worth noting sectors, private developers and the private happen early in the concept development National Trust. Given the focus on cultural that younger investors and millennials are sector should also be engaged in this stage, depending on the views of the empowerment and social change, it will be also key constituents and emerging period, alongside enthusiastic world Advisory Board. important to identify which institutions are champions of the social impact movement. experts from a range of disciplines. eligible for Heritage Lottery Funding – both The workshops will be designed to ensure Recommendation six in terms Big Lottery and People’s Postcode Amgueddfa Cymru has seven youth forums, that the detail of the three phases is robust, A fundraising feasibility study is critical if a Lottery. one for each museum across Wales, and it ambitious, practical and realisable. National Contemporary Art Gallery is to be is their plan to develop these to have a role pursued in a subsequent stage. This is to The Big Lottery Fund funds projects and in policy making and project development. The Concept Workshops could culminate in both ensure ongoing support is a realistic activities in the UK that make communities The youth forum at the National Museum a high-profile symposium, a 2-3 day event, prospect, to explore how a national stronger and more vibrant, and that are led Cardiff will install an intervention in the bringing together the participants from operating model will impact (positively and by the people who live in them; the latter is natural sciences galleries this year on the throughout this stage to showcase and negatively) existing funding streams designed to support projects that further issue of plastic in the seas. discuss their final recommendations. It is designated for visual arts in Wales, and to the aims of the People’s Postcode Trust – critical that the Concept Workshops are as unlock new funding streams. employability and skills development, Additionally, Arts Council of Wales has open as can be to both participants and human rights, combating discrimination or already committed to establishing an ideas, addressing the concerns of several The income model for a new national entity poverty prevention. interconnected Youth Board as part of in the artist community, one of whom of contemporary art must be defined by its operational plan (inspired, in part, by stated, revenue opportunities that benefit the Recommendation seven the experiences of The Roundhouse’s wider sector. The establishment of a Contemporary (see Guided by Young Voices). It is “There is a lot of passion for creating Creativity Endowment Fund is explored as recommended that these Boards work in something sustainable; we see this as A vast range of partnerships and funding a viable option for providing ongoing parallel, if not under the same umbrella. nothing but a positive thing. However it feels arrangements should be explored,

111 Recommendations

revenue support in perpetuity for the Recommendation nine Recommendation ten Learning from these projects should be National Gallery of Contemporary Art. Sector-wide audience research should be The culture and tourism sectors take steps shared widely (e.g. in publications, part of delivered to assess the demand for any to align their strategies and work more a symposium, facilitated discussions) The Endowment could support the central new entrant into the visual arts sector. It is closely together to: and applied to the next set of National organisation body, the creative clusters and essential that there is a more sophisticated Canvas projects. a suite of fellowships and awards for understanding of the existing and potential • Build on the existing tourism market in nurturing creative talent, thought and ideas market for contemporary visual arts Wales; identified in Wales and internationally. venues, experiences and attractions in • Embed visual arts into the existing Wales; the relationship between these tourism campaign, The Wales Way; The Endowment would require the venues; motivations and behaviours for • Provide an experience distinctive to unlocking of new funding and investment attending is understood; that barriers to Wales that cannot be found elsewhere; sources. Its success is dependent on a access are clearly identified; that patterns • Deliver a combination of indoor and sophisticated fundraising campaign driven across time and geography are tracked and outdoor arts attractions that are closely by champions well-placed to leveraged. There is potential to ensure that linked to the different Welsh communities enthusiastically re-frame the culture of organisations are empowered to and sense of place to meet the giving – to one about investing in Wales’ collectively undertake sector-wide expectations of international holiday creative engine and beauty. research that can be directly applied to makers. making informed programming, marketing, Recommendation eight positioning and business planning Recommendation eleven A Cultural Professional Fellowship will decisions at both national and local levels. The advisory board develops and delivers provide opportunities for Welsh emerging A comprehensive training and research a series of pilot projects – part of the 50 and established cultural professionals to programme would provide an important works in The National Canvas – in the work across the ecosystem. The Fellowship legacy for the visual arts community. immediate term. These projects will ensure will welcome applicants from curatorial investment already ring fenced for the backgrounds as well as those of other Feasibility Study is used efficiently to move disciplines, whose expertise is essential to the National Contemporary Art Gallery a thriving arts and wider creative industries Wales forward. The pilot projects should be sector. This includes experience in shaped as action research – enabling the education, marketing, business planning, team to test different ways to convene and operations, technology, law, policy, social empower audiences, explore ideas for work, art therapists, data science, design, contemporary art projects and provide retail, catering, human resources, opportunities for collaborative working. Figure 36: Indicative phased and fundraising and events management. progressive approach to delivering the National Contemporary Art Gallery Wales Source: Event, April 2018

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 112 July 2018 Recommendations

Feasibility, Fundraising Key: Study, Audience Learnings from Phase 1 Research project inform the next phase of works Phase 2 Advisory Panels and Planning, Research, National Youth Phase 3 Testing and Feasibility Cultural Advisory Board set up

Pilot Projects

Visioning Location Applications

Co-commissioning site-specific works

Capital project 1 at existing organisation

Capital project 2 at existing organisation

Capital project 3 at existing organisation

Capital project 4 at existing organisation

Capital project 5 at existing organisation

National Contemporary HQ

Fellowship Programme

113 Recommendations

Aligning with Welsh Policy and Reports The above recommendations address and align with the recommendations from a number of reports associated with arts and culture in Wales, including:

• Building Resilience – Inquiry into Non- Public Funding of the Arts (2018); • Sharing Treasures: Past and Future (2015); • Expert Review of Local Museum Provision in Wales (Dr. Hayden E Edwards, 2015); • Culture and Poverty (Baroness Kay Andrews OBE, 2014); • Valuing Place, The Young Foundation (2017); • Make: Reach: Sustain: the future of the arts in Wales (Arts Council of Wales, 2015); • The Future Generations Act (2015).

These crossovers are identified in the following pages (Figures 37-43).

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 114 July 2018

Sharing Treasures: Past and Future; Expert Review of Local Museum Provision in Wales (2015) – Dr. Hayden E Edwards; Culture and Poverty (2014) – Baroness Kay Andrews OBE, Valuing Place, The Young Foundation, 2016 Recommendations

Recommendation Non-Public Funding of the Arts (2018) Recommendation Expert Review of Local Museum Provision in Wales (Dr. Hayden 1 Maximise financial support for the arts from business E Edwards, 2015) 3 Increase awareness of, and investment in, the excellent arts organisations 5 (p49) Put measures in place to establish Collections Wales which will rationalise, and projects based in Wales, by UK-based trusts and foundations develop and safeguard collections of significance to the histories and 5 (Research to) identify and exploit international markets that have growth cultures of Wales potential for Welsh arts organisations 6 (p49) Collaborate to identify and provide the skills development needed to 7 The Welsh Government should consider implementing a clear strategy to support the workforce during the transition and beyond, in order for it to assist Wales’ arts sector to grow international markets be able to fully achieve the requirements of the Museums Charter 8 Provide a source of fundraising expertise to help small arts organisations Figure 39: Aligned recommendations from increase their non-public fundraising in an analogous fashion to the Expert Review of Local Museum Provision support it currently provides for small businesses through Business Wales in Wales (Dr. Hayden E Edwards, 2015) 9 Improve the financial resilience of non-revenue funded organisation

Figure 37: Aligned recommendations from Building Resilience – Inquiry into the Non-Public Funding of the Arts (2018)

Recommendation Sharing Treasures: Past and Future (2015) (p05) Category 1 – capital improvements to permanent or temporary galleries containing national loans 4 (p18) Consider the potential for developing touring exhibitions, either between groups of partner museums, non-partners who already meet GIS standards, or as a development of a display at one partner museum 4 (p18) Improving exhibition spaces. The scheme’s major lasting value arises from the capital development that funds infrastructure improvements 4 (p22) Reinstate partnership meetings to aid communication and sharing experience

Figure 38: Aligned recommendations from Sharing Treasures: Past and Future (2015)

115 Recommendations

Recommendation Valuing Place, The Young Foundation Recommendation Future Generations Act Knowing how people in places experience inequality is critical to policy- A prosperous Wales An innovative, productive and low carbon society which recognises the making limits of the global environment and therefore uses resources efficiently Promoting counter-narratives to those of deprivation and decline is and proportionately (including acting on climate change), and which essential develops a skilled and well-educated population in an economy which generates wealth and provides employment opportunities, allowing people Allocation of resources needs to be better targeted to meet community to take advantage of the wealth generated through securing decent work aims A more equal Wales A society that enables people to fulfil their potential no matter what their Policy makers need to recognise, celebrate and amplify the actions which background or circumstances (including their socio economic people are already taking, including those which are small-scale and circumstances) loosely formed A Wales of cohesive Attractive, viable, safe and well-connected communities Local networks need to be established as a priority to help encourage, communities train, mentor and connect people together who want to take local action A Wales of Vibrant A society that promotes and protects culture, heritage and the Welsh Decision-makers and influencers need to be working with communities in culture and Welsh language, and which encourages people to participate in the arts, sports different ways, away from things being ‘done to’, to co-creating new language and recreation solutions to existing problems A globally A nation which, when doing anything to improve the economic, social, Figure 40: Aligned recommendations from responsible Wales environmental and cultural well-being of Wales, takes account of whether Valuing Place, The Young Foundation doing such a thing may make a positive contribution to global well-being

Figure 41: Aligned goals from Future Generations Act

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 116 July 2018 Recommendations

Recommendation Culture and Poverty (Baroness Kay Andrews OBE, 2014) Recommendation Culture and Poverty (Baroness Kay Andrews OBE, 2014) 1 and 2 Widening Access And Breaking Down Social Exclusion – Breaking down The Power Of Place: The Place For Skills – Harnessing culture to drive physical and psychological barriers to our institutions regeneration and improve skills Going Local: Increasing Engagement at Community Level – Anchoring 25 Develop a more proactive and coherent national approach to cultural culture within communities and increasing impact of outreach apprenticeships to make an impact on national unemployment reduction programmes strategies 4 Challenge the cultural sector, through strategic direction and funding and A Single Conversation – Key all-Wales strategies around the cultural other support, to expand efforts to place their institutions at the heart of ‘infrastructure’ to focus and drive greater engagement around poverty communities and widen access to all 28 Articulate and promote the role of culture in supporting a broad range of 5 Cultural organisations to ‘go local’ and ‘stay permanent’ by giving greater policy objectives to drive coherent links into policy at national and local priority to shared projects in local communities and identifying and using authority level shared space for displays and activities 33 Welsh Government, Welsh Local Government Association (WLGA) and 9 Incentivise and encourage local authorities to look at possibilities for cultural organisations to develop consistent KPIs for the arts, cultural and cross-boundary support and sharing of services heritage sector that incentivise efforts to improve well-being through 10 Community and Culture networks to be developed, linking community and engaging people in cultural projects in the community cultural organisations at a local level, to share knowledge and resources and plan joint initiatives to address the cultural deficit within communities Theme Make: Reach: Sustain: the future of the arts in Wales (Arts Council of Wales, 2015) Objectives Driving Ambition and Driving Up Standards: Culture and Learning – Measures to harness culture to help close the attainment gap Make 1. Creating the environment for the arts to flourish 15 Reinforce the inclusion of cultural activity within and outside the school 2. Increasing the value of international cultural exchange to the arts in day and school term, highlight good practice, and look for positive ways in Wales which to encourage and enable schools to work more collaboratively with Reach 3. Funding new opportunities, ways and places for people to enjoy and cultural organisations take part in the arts 19 Arts Council of Wales to revisit the ‘Reach the Heights’ arts participation 4. Developing the creativity of children and young people programme to offer engaging cultural activities geared to 9-13 year olds at Sustain 5. Encouraging innovation, resilience and sustainability risk of becoming NEET 6. Protecting and growing the economic base for the arts in Wales Figure 42: Aligned recommendations from 7. Demonstrating the value of the arts Culture and Poverty (Baroness Kay 8. Making the Arts Council an efficient and effective public body Andrews OBE, 2014) Figure 43: Aligned objectives from Make: Reach: Sustain: the future of the arts in Wales (Arts Council of Wales, 2015)

117 Mary Lloyd Jones, Ystumtuen Pools, 2017, 5ft x 6ft Source: courtesy of Martin Tinney Gallery 6. Details of the Model

119 Phase One: The National Canvas, Co-commissioned Artworks

Phase One: Capital Requirements in disused spaces are temporary physical • Stakeholder mapping, engagement and • Colleges and universities; • Large commissions budget ring-fenced structures or experiences; communication. • Private developers; for first artworks, 50 artworks across the • Rolling programme of commissions could • Forest Commission. country. Commissions range in cost be added over time; Development between £40,000 to £5m. For the • Systems for commissions to be acquired • Classically diverse fundraising strategy Indicative Timescale purposes of financial modelling, we have by Amgueddfa Cymru. – trusts, foundations, individual donations • Year One: Recruitment of curatorial assumed the average budget is £60,000 and corporate sponsorship; leadership and team; establish curatorial per project; Collections Mobility • Potential to draw funds from capital research committee; establish key • Minimal spend required for supportive • Mid-scale logistical requirements. Low investment projects in other sectors partnerships; establish marketing and infrastructure (e.g. sheltered education transport. High insurance costs. (Section 106, place-making and public fundraising approaches; develop national spaces, retail units, F&B, or viewing areas art); education programme; launch adjacent to commissions); Education and Engagement • Corporate sector sponsorship for commissioning programme – piloting a • Requirement for signposting across • Onsite and online formal and informal specific commissions and /or corporate series of works as early on in the year as Wales (online and physically). learning. sponsor for the Nation’s Canvas; possible; • Legacy fundraising; • Year two-four (and ongoing): Phase One: Operational components Phase One: Commercial Opportunities • Ongoing crowd-funding campaigns. Commissions across Wales. Leadership and Team • Potential to develop new forms of • Lead Artistic Director and a team of commercial opportunities (given non- Maintenance Phase One: Value-Added to Wales creative producers that collaboratively traditional spatial brief), including pop-up • Security and insurance requirements at • Extends the nation’s cultural tourism develop and oversee the programme in restaurants, cafés, street food venues. all sites; offer; their geographic clusters; Potential commissioning agreement with • Maintenance requirements for outdoor • Disrupts the traditional contemporary art • A Curatorial Research Committee made catering and retail; artworks. gallery model (white-box space, up of the general public, artists and • A commercial officer will develop a starchitect-designed) while being creatives, and young people (See compelling nationwide retail offer, (a Partners authentic and using Wales’ most Recommendation Four) works alongside visual arts brand for Wales), partnering • Artists and artist collectives; cherished assets; specialists to co-curate the exhibition with product design/fashion students in • Visual arts organisations; • Builds a contemporary arts audience and commission site-specific works; art schools to draw on assets from • Local Authorities; within Wales through developing a • Potential for shared resource pool across across the nation and sold at multiple • VisitWales; dialogue and engagement at a local level; visual arts ecology relying on anchor sites online and off. • Community Groups; • Provides truly democratic access to the organisations for fundraising, marketing, • Catering companies (e.g. pop-up food collection and any new commissions for conservation. Marketing truck); Welsh people, in particular those that do • Emphasis on local, regional, national • Corporate partners; not feel art or galleries are for them; this Programme and Exhibition marketing and international tourism and • International peers; work will be designed and owned by • A significant proportion of the external cultural industry; • Embassies; them; commissions could be permanent; those • Link to Wales Way;

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 120 July 2018 Phase One: The National Canvas, Co-commissioned Artworks

• Results in indirect economic benefit of • Decentralised approach enables it to be Phase One: Risks visitor day spend and short term job delivered throughout Wales, in different Risks Mitigation creation; location types – urban and rural, • Develops new ways to collect the populated and unpopulated, etc.; Loss of curatorial vision Recruit artistic leadership with collaborative ethos, strong uncollectable within the national • Provides employment opportunities across complex communication skills, extensive track record and ambitious vision; collection. across Wales; programme Ensure curatorial vision is well communicated and sense of • Increases sense of a community and ownership shared widely; Ensure ambitious roll out of programme, Phase One: Strengths ownership through co-curation and including world-class artist commissions (Welsh and overseas • Highly visible in Wales and provides commissioning; artists) and online presence; ensure works of art are geographically compelling press and marketing • Develops national collection through new spread, but accessible; Partner with VisitWales to ensure the opportunities; commissioning, while providing programme is strategically promoted to domestic and international • Journey across the canvas provides a opportunities to display large (often tourists pilgrimage for visitors, the antithesis of unseen) contemporary works; instant gratification where culture can be • Develops new funding opportunities that Lack of high visibility Track and measure success of programme – its impact on audiences, experienced at any time from any device; break the mould. artists, national identity, local economies, nearby attractions (on • Highly innovative. It provides an Wales Way)and associated investment in scheme and press accessible experience – going beyond Phase One: Weaknesses coverage. Ensure some projects are rolled out quickly at the outset, the gallery. It extends current curatorial • Too diffuse; and key marketing opportunities developed early on practice and encourages a new • Relies on Welsh transport lack of education and engagement model; infrastructure might dictate location of Easily cancelled if Build buy-in at an early stage, working closely with all partners to • Focuses on the specifics of place and the artworks; programme does not understand if/how this integrates with existing job function and what land of Wales, which is in keeping with • Limits access to those without vehicles; demonstrate clear additional resource would be required the strengths of Welsh modern and • Outdoor elements may be perceived to successes or impact in Ensure clear and robust timeline is developed for roll out of all contemporary art; be a limiting factor; short term phases • Positions the landscape as an • While disused buildings could showcase Staff see delivering Establish dedicated team; Hold regular meetings with regional opportunity rather than a barrier and new commissions, these are unlikely to components of the creative clusters with clear agenda to discuss how programming is uses disused buildings to provide exciting be environmentally-sound and would co-commissioning as an developing, where there are difficulties and how these can be opportunities for artists to work in; have cost implications for opening / ‘add on’ to their existing addressed; Celebrate and promote successes formally and informally • Pushes contemporary visual artists work closing and invigilation. This could job description, rather – internally and externally forward, encouraging them to respond to prohibit some site-specific commissions than integrated landscape – rather than white box being on display for extended periods; opportunities; • Does not directly address capacity issues raised by sector.

121 Phase Two: Delivery of Distributed Model

Capital Requirement community space, approximately 950sqm • Associate venues are expected and Commercial Opportunities New capital structure to be put in place at of collection storage and associated encouraged to ensure cohesive • Catering, retail, and events personnel each venue; level of investment would vary amenities and 830sqm BoH space. programme alignment between the required. based on size of structure, longevity and ‘national’ and their independent work. recent capital works (e.g. Glynn Vivian’s Operational components Marketing 2016 extension, by way of example only, Leadership and Team Collections Mobility • Emphasis on local, regional, national does not currently need a new physical • Curatorial committee that ensures a • Minimal logistics internally and low marketing and international tourism and structure; however as part of the network, coherent curatorial voice for joint transport and insurance costs regarding cultural industry. a pop-up architectural solution could be exhibitions; collection movement (i.e. permanent put in place near to the site branded as the • Equal relationships across venues, rather collection does not need to be de- Development National Contemporary Art Gallery Wales). than being ‘dictated outward’ from installed when a temporary exhibition is • Classically diverse fundraising strategy The capital cost for a semi-permanent Amgueddfa Cymru; shown assuming that National Museum – trusts, foundations, individual donations extension is likely to be iro £3,000-£3,500 • Clear opportunities for professional skills Cardiff is automatically one of the sites and corporate sponsorship; per sqm. development – both formal and informal; that receives a semi-permanent • Necessity to quantify and cultivate Welsh • Extended capacity for delivering national extension); diaspora; A preliminary budget for a semi-permanent collection programmes and associated • Externally, medium costs associated with • Potential to ensure Amgueddfa Cymru’s small new extension would be £4.5m. education and community programmes collections movement. Medium transport new membership scheme deploys best This assumes approx. 480sqm public that meet the audience requirements of and insurance costs. practice in building membership space, 300sqm of temporary gallery space, each associate venue (not a one size fits community. approximately 300sqm of collection all approach to education and outreach); Education and Engagement storage and associated amenities and • Robust marketing plan to ensure visibility • Early involvement of learning and Building Maintenance 300sqm BoH space. and brand identity; marketing teams from the National • Consistent and predictable facilities, • Potential for shared resource pool across Gallery of Contemporary art Wales’ and maintenance and security costs in line A preliminary budget for a semi-permanent visual arts ecology relying on anchor partner organisations to ensure that with industry averages. medium extension would be iro £8m. organisations for fundraising, marketing, there is an integrated approach. Onsite This assumes approx. 600sqm public conservation; and online formal and informal learning. Partners space, 800sqm of temporary gallery space, • Encourages a mixed portfolio of A coherent education offer across all sites; • 6-8 sites selected for their strategic approximately 600sqm of collection established and new venues and • Clear understanding of local audiences alignment including: storage and associated amenities and organisations. at each venue to ensure audience needs • Geographical location and catchment; 480sqm BoH space. and interests are being met; • Curatorial focus (e.g. Pontio/circus; Programme and Exhibition at Each Venue • Community “in-reach” required to extend Plas Glyn-y-Weddw/artist residences); A preliminary budget for a semi-permanent • Associate venues still offer their current audiences beyond those visiting. • Governance; large extension would be iro £13m. programmes, but have a national • Co-curation with targeted groups; • Funding mode; This assumes approx. 940sqm public collection/gallery designated as a • Formal engagement officers required. • Partnerships. space, 1,300sqm of temporary gallery and physical space on (or near) site;

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 122 July 2018 Phase Two: Delivery of Distributed Model

Timescale increased at sites and how the idea might Phase Two: Weaknesses • Requires space beyond the existing • Year one: Develop open-call application be scaled. More permanent structures • Requires buy-in from planners and local building footprint; process, encouraging partners to apply could be put in place once worth proved; authorities; • Creates increased competition for as a community/civic/creative team to be • Ensures collection is widely distributed • Precludes all visual arts organisations funding, particularly from foundations designated a national gallery. Identify across Wales and unseen collections are from participating; and trusts. partners and establish curatorial made visible; committee; establish branding; assess • Ensures ‘national’ is truly national and Phase Two: Risks capital opportunities at each partner geographically dispersed; venue; • Celebrates the uniqueness of each venue Risks Mitigation • Year two-four: Establish curatorial and community with the potential for Visual arts organisations Develop and communicate clear rationale and criteria for why programme; roll out capital extensions; different architectural interventions at feel excluded from the organisations are included in the bracelet; Identify programmes, • Year five: Additional partners added each site; distributed national research, exhibitions or knowledge-sharing events that actively according to identified assessment • Allows for current partners’ current gallery and any related include non-bracelet members; Ensure sector-wide advocacy for the criteria; programmes/displays to be delivered and public or private funding visual arts integrates coordinated messages from the entire sector • Ongoing: evaluation of programme exhibited; i.e. they do not need to be opportunities (any venues that are not working to be removed for the collection to be shown; addressed or removed) potential for • Inspires dialogue and juxtaposition Not perceived to be Undertake research and facilitate conversations that enable partners further partners to be added. between partners’ existing programmes locally relevant as a to develop shared aims and interests; Identify unique attributes, and works from national collection; ‘one-size-fits-all’ audiences and possibilities at each site to position each venue as Phase Two: Value-added to Wales • Improves curators’ professional approach distinctive • Extends the cultural tourism offer; development through joint working Lack of limited visitation Ensure attractive proposition is communicated about each site; • Expresses confidence in the visual arts (arranging loans and partnership to some sites (e.g. rural) Identify opportunities and incentives to encourage repeat visitors, and raises its visual arts profile in and out exhibitions); and encourage visitors to travel across the network; Partner with of Wales; • Encourages all organisations to ‘raise VisitWales to ensure all venues are actively promoted to domestic • Alleviates the Cardiff-centric concerns their game’ to be seen as a ‘destination’ and international tourists amongst non-Cardiff-based audiences on a ‘bracelet’ of venues; Staff see delivering the Build buy-in for programme at early stage, working closely with all and organisations; • Does not rely on the infrastructure within national gallery extension partners to understand if/how this integrates with existing job • Increases combined supply-chain and existing building; programme as an ‘add on’ function and what additional resource would be required; Hold induced spending in local areas including • Allows for both split-venue touring to their existing job quarterly meetings with sector-wide team with clear agenda to construction employment and potentially (exhibition showing in several sites description, rather than discuss how programming is developing, where there are difficulties additional visitor spend. simultaneously) as well as consecutive integrated and how these can be addressed; Celebrate and promote successes programming; formally and informally – internally and externally Phase Two: Strengths • Could be seen in parallel or delivered Lack of recognition from Track and measure success of programme – its impact audiences in • Allows for a pilot phase to test what is in sequence with other models. the Welsh Government particular; Celebrate and promote successes of Partnership working, where footfall or reach has externally

123 Phase Three: National Contemporary Art Headquarters

Phase Three: Capital requirements • Limited potential for shared resource Commercial Opportunities • Local community groups; While Phases One and Two are interlinked pool across visual arts ecology. However, • Catering, retail, events, hire personnel • Visual Arts Galleries Wales (VAGW); in their sequencing, Phase Three will draw can draw on existing expertise in required. • Higher education; upon the learning, values and networks contemporary art and design already • Corporate sector; developed previously. The personality and employed at Amgueddfa Cymru. Marketing • International peers. identity of the new National Contemporary • Emphasis on local, regional, national Art Gallery Wales headquarters is therefore Programme and Exhibition marketing and international tourism and Timescale one that will crystallise over time. At the • Permanent exhibition installed once, with cultural industry. • 3-7 years. writing of this report, based on extensive 5-10% flexibility for annual changeover; benchmarking and a number of understood • Temporary exhibition installed regularly Development Phase Three: Value-added to Wales parameters about the purpose of such a (3 large per annum; 4-5 small per annum); • Classically diverse fundraising strategy • Extends the cultural tourism offer, building, we suggest that a new build with • Of the temporary exhibitions, 1-2 – trusts, foundations, individual donations particularly if located on the Wales Way; a starchitect attached would cost a designed to tour nationally / and corporate sponsorship; • Expresses confidence in the visual arts minimum of £50m. This assumes £5,000 internationally. • Necessity to quantify and cultivate Welsh and raises its visual arts profile in and out per sqm and approximate GFA of diaspora. There is potential to ensure of Wales; 10,500sqm. For a more functional build, Collections Mobility Amgueddfa Cymru’s new membership • Provides a positive economic impact the cost would be in the region of £42m, • On set-up significant logistical scheme deploys best practice in building through combined supply-chain and assuming a 4,000 sqm space. requirements; membership community. induced spending in local area including • On-going mid-scale costs associated job creation, construction employment While at this stage the core operational with mobilising collection (i.e. permanent Building Maintenance and additional visitor spend. components are generalised, and require collection does not need to be de- • Consistent and predictable facilities, nuancing as Phases one and two get installed when a temporary exhibition is maintenance and security costs in line Phase Three: Strengths underway, it is clear that there is a need shown, however national collection needs with industry averages. • Delivers a fit-for-purpose building with for significant investment in any new to be transported beyond Cardiff); high-quality design. It is not limited by the headquarters, for example there is a need • Externally, medium costs associated with Partners existing National Museum Cardiff site or to improve storage and accessibility of the collections movement. Medium transport • Local authority (site identification, infrastructure; national collections. and insurance costs. assistance with delivery, planning • Provides new identity in locality; process, integration with existing • Potential for attracting new audiences Operational components Education and Engagement infrastructure, brokering partnerships, depending on location; Leadership and Team • Onsite and online formal and informal financial contribution to capital and likely • Focuses on modern and contemporary • Centralised management but with greater learning; ongoing revenue support); visual art, giving Amgueddfa Cymru a flexibility and independence. A single • Community in-reach required to extend • Government; new platform for this discipline and visionary leader. In-house and guest audiences beyond those visiting; • Artes Mundi; enabling space to be freed up in the curators; • Co-curation with targeted groups; • Neighbouring facilities; Amgueddfa Cymru; • Formal engagement officers required. • Local cultural and educational partners; • Affords short-term press opportunities.

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 124 July 2018 Phase Three: National Contemporary Art Headquarters

Phase Three: Weaknesses Phase Three: Risks • Potentially limits impact for all of Wales; Risks Mitigation • While potentially benefiting from a high-profile opening, potentially difficult Creates increased Draw on existing collaborative ethos of the Amgueddfa Cymru to sustain funding, profile and competition with existing curation/collections teams to jointly develop vision for the extension momentum; visual arts and cultural that draws on local, regional national and international expertise in • Places all investment in the Amgueddfa offer in Wales contemporary visual arts; Identify tangible ways in which the sector Cymru, while others in the visual arts could co-deliver aspects of the programme to ensure it draws on sector do not benefit directly. existing cultural/creative/HEI assets in identified region Lengthy negotiation Develop collaborative partnership with all stakeholders at early stage, being transparent about anticipated barriers, risks and challenges and how these can be collectively addressed; Seek to understand developers and local authority’s ambitions and how these connect to the outpost model, and what aspects of the outpost’s ambitions are non-negotiable, critical-success factors. Consider collectively how these can be achieved. Ensure clear off-site programme is in place, drawing on cultural and community; ensure these platforms are still used creatively after gallery is open Seen as un-innovative – Ensure the design, place-making and content is Wales-specific; simply copying every ensure any architectural competition focuses on this authenticity and other visual arts gallery in the requirement that the gallery evoke a national, collaborative, the world transparent and open spirit in its physical design. Consider rolling out other models identified in advance of opening that focus on collaborative, ambitious exhibitions/collections development across Wales

125 Preliminary Capital Costs

Build Type Public Non-Collection Public Collection (sqm) (sqm)

External Entrance Social Spaces Amenities Learning Permanent Temporary Community

Large New Extension – Distributed Site 300 200 200 100 120 0 1200 100 Mid-range PNC Total: 920 PC Total: 1300 Medium New Extension – Distributed Site 200 200 60 60 80 800 Mid-range PNC Total: 600 PC Total: 800 Small New Extension – Distributed Site 200 100 60 60 60 0 300 0 Mid-range PNC Total: 480 PC Total: 300

Large Refurb – Distributed Site 0 0 0 0 0 0 1200 0 Mid-range PNC Total: 0 PC Total: 1200 Medium Refurb – Distributed Site 0 0 0 0 0 0 800 0 Mid-range PNC Total: 0 PC Total: 800 Small Refurb – Distributed Site 0 0 0 0 0 0 300 0 Mid-range PNC Total: 0 PC Total: 300

Iconic Headquarters 800 600 400 220 480 2000 1200 500 Signature Architect PNC Total: 2500 PC Total: 3700 Mid-range PNC Total: 2500 PC Total: 3700 Functional Build PNC Total: 2500 PC Total: 3700

Figure 44: Preliminary capital costs for contemporary art gallery based on current sqm rates. These are indicative costs only based on international benchmarks. A more detailed feasibility needs to be undertaken.

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 126 July 2018 Preliminary Capital Costs

Non-Public Collection Non-Public Non-Collection NFA Total 5% GFA Total Cost pm2 Preliminary (sqm) (sqm) (sqm) (£) Budget (£) Collection Conservation Exhibition Transit Offices Technical Kitchens / Plant Storage Storage Retail Store etc. 300 0 400 250 80 100 200 450 NPC Total: 950 NPNC Total: 830 4,000 200 4,200 £4,000 £16,800,000 200 0 200 200 40 60 80 300 NPC Total: 600 NPNC Total: 480 2,480 124 2,604 £4,000 £10,416,000 100 0 100 100 20 40 40 200 NPC Total: 300 NPNC Total: 300 1,380 69 1,449 £4,000 £5,796,000

0 0 400 0 10 30 0 20 NPC Total: 400 NPNC Total: 60 1,660 83 1,743 £4,000 £6,972,000 0 0 200 0 10 30 0 20 NPC Total: 200 NPNC Total: 60 1,060 53 1,113 £4,000 £4,452,000 0 0 100 0 10 30 0 20

1000 250 300 250 200 300 300 1200 NPC Total: 1800 NPNC Total: 2000 10,000 500 10,500 £7,000 £73,500,000 NPC Total: 1800 NPNC Total: 2000 10,000 500 10,500 £5,000 £52,500,000 NPC Total: 1800 NPNC Total: 2000 10,000 500 10,500 £4,000 £42,000,000

127 Preliminary Operational Costs

Centralised Resource / Scenario One Centralised Resource / Scenario One Notes Costs Costs • Phase One Direct Programming Expenditure is based on Scenario One capital costs and Phase One Phase One activity (i.e. number of commissions); • Expenditure on Charitable Activities, Raising Charitable Activities / Direct Programming Expenses donations and legacies and Other trading Expenses Staff 363,000 activities exclude staff costs (presented Exhibitions - Benefits £25,410 separately); Collections & Research - • Staff costs include 13.5FTE with the Marketing £120,000 Public Programmes £20,000 assumption that these staff will be expected Utilities - to deliver a similar scope of work into phases Education / School Tours £15,000 Insurance £100,000 two and three; Fellowship Programme - Security £25,000 • Benefit costs are assumed at 7% of staff costs Museum Operations £10,000 • There will be economies of scale if all three Maintenance & facilities £184,650 Governance - phases are delivered – e.g. centralised core Other - Annual Symposium/Events £5,000 staff recruited in phase one will include a Total £1,053,060 National Youth Advisory £65,000 director, who will then be responsible for Board delivering phases two and three as well; • Centralised core staff also include a Head of Travel £10,000 Fundraising and a Head of Marketing – both Raising Funds roles of which would be expected to develop a Expenditure on Raising £50,000 programme of activity that extends to phases Donations & Legacies two and three; Expenditure on Other £10,000 • Indicative marketing costs are modelled at a Trading Activities minimum of 4% of total outgoings; Catering £50,000 • Maintenance & facilities costs for Phase One/ National Canvas are based on 10% of total capital costs for installing commissions; • Centralised staff will be drawn upon for phases one and two.

Figure 45: Indicative centralised resource / operational costs for scenario one, phase one

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 128 July 2018 Preliminary Operational Costs

Centralised Resource / Scenario One Centralised Resource / Scenario One Notes Costs Costs • Expenditure presented here is based on 8 galleries in the distributed model. Phase Two Phase Two The expectation is that not all will be opening the same year, so costs may be allocated Charitable Activities / Direct Programming Expenses across several years; Expenses Staff £751,520 • Phase Two Costs are to be distributed across Exhibitions £250,000 Benefits £52,606 gallery partners; This includes additional staff Collections & Research £64,000 resource; Marketing £15,000 Public Programmes £20,000 • Indicative exhibition costs are notably higher Utilities - than the Amgueddfa Cymru’s total exhibition Education / School Tours £32,000 Insurance - fund; this indicative budget presented here is Fellowship Programme £125,000 Security - an ‘ideal’ scenario based on comparable Museum Operations - institutional benchmarks and the ambition Maintenance & facilities £240,000 Governance £1,000 outlined in this study; Other - Annual Symposium/Events £5,000 • The expectation is that some exhibitions Total £1,650,126 National Youth Advisory £10,000 developed in partner galleries (Phase two) Board or the HQ (Phase three) will then tour the national (and international) circuit; Travel £16,000 • Expenditure on Charitable Activities, Raising Raising Funds donations and legacies and Other trading Expenditure on Raising £32,000 activities exclude staff costs (presented Donations & Legacies separately); Expenditure on Other £36,000 • Indicative marketing costs are modelled Trading Activities at a minimum of 4% of total outgoings; Catering - • Model assumes that Phase two / Distributed Gallery costs will be covered significantly by the existing gallery; • Benefit costs assumed at 7% of staff costs; • Centralised staff will be drawn upon for phases one and two. Figure 46: Indicative centralised resource / operational costs for scenario one, phase two

129 Phil Collins, This Unfortunate Thing Between Us (2014). Site specific installation at Chapter Arts Centre. Image courtesy the artist. Source: Alex Vann 7. Recommended Next Steps

131

Recommended Next Steps

Event recommends the following actions • Quantify the potential and existing Operating Model are pursued at the next stage: cultural tourism market – specifically • The development of a detailed operating domestic and cross-border markets, model that takes account of attendance Financing aligned with VisitWales demographics figures, spatial requirements, operating A Fundraising Feasibility Study – for both and parameters (where appropriate); costs and governance; capital and revenue support – is critical if • Enable visual arts organisations to • A Fundraising Feasibility Study (as above) the National Contemporary Art Gallery position themselves individually and to inform revenue projections; Wales is to be pursued. This is to both collectively (as a cohesive sector) • Primary audience research to inform ensure ongoing support is a realistic to an identified range of target markets; visitor numbers and profile, opportunities prospect, to explore how a national • Explore and define the appetite and for engagement, scale, relationship to operating model will impact (positively and demand for a national centre of formal learning, the operating model, negatively) existing funding streams contemporary art; positioning and marketing, the case designated for visual arts in Wales, and to • Inform the underlying operating and for support and suitable location(s). unlock new funding streams. Key areas for financial model for the Feasibility Study This could include audience focus exploration include endowment from the for a National Entity of Contemporary Art groups. Welsh diaspora, rewards-based crowd- for Wales; funding, impact investment, bespoke • Ensure results can be applied to other Locations corporate sponsorship packages, venture initiatives (e.g. individual organisations • A call for partners through the philanthropy, among others. currently lack the visitor insight to make development of an application process cross-site comparisons or build joint- for partners for all three Gallery phases: Market development, testing and marketing initiatives; the cultural tourism The National Canvas (50 commissions); research market could be better integrated into The Distributed Gallery (6-8 branded Undertake market research that will: VisitWales positioning); spaces); and The National Headquarters; • Characterise and segment existing and • Provide opportunity for skills • A locations study requiring a potential contemporary visual arts and development in research design, delivery comprehensive site analysis. Locations cross-arts audiences – including and analysis; sector-wide knowledge • to consider highlighted to Event by demographics, motivations, needs, exchange; and joined up strategic consultees during the study include: Old behaviours, barriers and opportunities; thinking. College, Aberystwyth; Golden Grove; • Explore regional differences and Carmarthen, Chapter, Cardiff; Mamhilad, similarities. Key categories will be aligned There is also opportunity to further build-in Pontypool; Port Talbot. where possible with existing venue- buy-in for any feasibility concepts being specific studies and other data-collection developed for a national visual arts entity programmes already in existence (e.g. if and as the study moves forward. Arts Council of Wales; VisitWales; g39/ Nesta R&D Project);

133 “At a time like this it would be easy to say that we cannot afford to invest in culture, that it is some kind of ‘luxury spending’ that can no longer be justified. To adopt that approach would be a serious mistake. Culture is important, and has intrinsic worth. But we should also recognise its growing value to our economy, and the vital contribution that it can make in the effective delivery of other areas of public policy.” Light Springs through the Dark: A Vision for Culture in Wales

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 134 July 2018 “The aspirational underpinning the government felt we should signal as our ambition [at the time of devolution] can be captured in the phrase: ‘Wales: The Smart Nation’… If we are ever to be that smart nation, we will have to propagate ‘Wales: the Arts Nation’. That is the real territory, in global terms, where we will need to state the claim for Wales.” Professor Dai Smith, Arts in Education

135 Fondation Louis Vuitton, Paris Source: Event, December 2017 Appendices

137 Appendix 1: Consultation List

Arts and Culture Organisations 18. Sara Green, Partner, Just Solutions and 34. Jim O’Rouke, Old Hall Aberystwyth Old 54. Neil Wicks, Director of Finance & 1. Louise Amery, Deputy Director, Consultant, National Football Museum College, Aberystwyth Corporate Resources, Amgueddfa Aberystwyth Art Centre Feasibility Study 35. Sarah Pace, Founder, Addo Cymru 2. David Anderson, Director-General, 19. Neil Hanratty, Director of Economic 36. Jill Piercy, Aberystwyth Art Centre 55. Sarah Younan, Youth Engagement Amgueddfa Cymru* Development, Cardiff Council 37. Hywel Pontin, Director, Llantarnam Coordinator, Amgueddfa Cymru 3. Emma Balch, Director, The Story 20. Peter Harding, Treasurer, Llantarnam Grange Arts Centre 56. Representatives from Young Curators of Books Grange Arts Centre 38. Mathew Pritchard, Chair, Artes Mundi Forum, Amgueddfa Cymru 4. Hannah Barry, Bold Tendencies, 21. Philip Hughes, Director, Ruthin Craft 39. Andrew Renton, Keeper of Art, London Centre Amgueddfa Cymru Artists 5. Chris Brown,Founder, g39 and Deputy 22. Alun Jones, Chairman, MOMA 40. Elen Ap Robert, Director, Pontio 57. Iwan Bala, Artist Chair, Visual Arts Galleries of Wales Machynlleth 41. Nia Roberts, Director, Oriel Plas 58. Kelly Best, Artist (VAGW) 23. Clive Jones, Chair, National Theatre Glyn-y-Weddw 59. Holly Davey, Artist 6. Simon Burgess, General Manager, Wales 42. Amanda Roderick, Director, Mission 60. Peter Finnemore, Artist Craft in the Bay / Makers Guild in Wales 24. Raymond Jones, Administrator, Gallery 61. Laura Ford, Artist 7. Elaine Cabuts, Chair Llantarnam Machynlleth Tabernacle Trust 43. Victoria Rogers, President, Federation 62. Bob Gelsthorpe, Artist Grange Arts Centre 25. Steffan Jones-Hughes, Director, Oriel of Museums and Art Galleries of Wales 63. Samuel Hasler, Artist 8. Christopher Caitling, Secretary, Davies and Chair, Visual Arts Galleries and Director, Cardiff Story Museum 64. Mary Lloyd Jones, Artist RCAHMW of Wales (VAGW) 44. Richard Salmon, Director, Golden Grove 65. Shani Rhys James, Artist 9. Alfredo Cramerotti, Director, MOSTYN 26. Ruth Lambert, Director, MOMA Trust 66. Len Massey, Artist 10. Devinda De Silva, Head of Machynlleth 45. Anthony Shapland, Artist and Director 67. Bedwyr Williams, Artist Collaboration, National Theatre Wales 27. Janice Lane, Director of Gallery of g39 68. Thomas Williams, Artist and Chapter 11. David Drake, Director, Ffotogallery Development and Visitor Experience, 46. Tracy Simpson, Founder, Addo Gallery Assistant 12. Lisa Edgar, Education Manager, Amgueddfa Cymru 47. Jenni Spencer-Davies, Curator, Glynn 69. William Wilkins, Artist and Trust Artistic Ffotogallery 28. Rhiannon Lowe, Editor and Curator, Vivian Art Gallery Adviser, Derek Williams Trust 13. Hannah Firth, Deputy Director and CCQ Magazine and Three Doors Up 48. Rebecca Spooner, Creative Director, 70. JocJonJosch, Visual Arts Collective Director of Visual Arts and Programme, 29. Karen MacKinnon, Director and Curator, Peak Chapter Artes Mundi 49. Nick Thornton, Head of Fine Arts, 14. Andy Eagle, CEO, Chapter 30. Jo Marsh, Creative Director, Tˆy Pawb / Amgueddfa Cymru* 15. Heledd Fychan, Head of Policy and Wrexham Council 50. Martin Tinney, Martin Tinney Gallery Public Affairs, Amgueddfa Cymru 31. Robin Mitchell, Director, Mamhilad Arts 51. Linda Tomos, National Librarian, 16. Jane Gerrard, Deputy Director, Project National Library Wales Ruthin Craft Centre 32. Frances Morris, Director, Tate Modern 52. Robyn Tomos, Visual Arts Officer, 17. Cllr Russell Goodway, Cabinet Member 33. Richard Nicholls, Development Director, National Eisteddfod of Wales for Investment and Development, Amgueddfa Cymru 53. Steve Ward, Chief Executive, Cardiff Council The Riverfront Arts Centre, Newport

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 138 July 2018 Appendix 1: Consultation List

Funding Bodies Government and Local Authorities 97. Professor Mike Tooby, Professor of Art 71. David Alston, Arts Director, Arts Council 85. Ruth Cayford, Visual Arts Manager, and Design, Bath University of Wales* Cardiff Council and VAGW member 72. Nick Capaldi, Chief Executive, 86. Lord Dafydd Elis-Thomas, Minister for * members of the Steering Committee Arts Council of Wales* Culture, Tourism and Sport, Welsh 73. Dr. Kath Davies, Director of Investment Government and Funding Services, Arts Council 87. Rob Holt, Deputy Director, Tourism of Wales* Development, VisitWales 74. Louise Wright, Portfolio Manager, 88. Lesley-Anne Kerr, Head of Museums Arts Council of Wales Development, Museums Archives and Libraries Division, Welsh Government* Specialists 89. Peter Owen, Head of Arts Policy Brand, 75. Sophia Bardsley, Deputy Director, Welsh Government* Contemporary Art Society 90. Adam Price, Plaid Cymru Assembly 76. Shôn Dale-Jones, Artistic Director, Member for Carmarthen East Hoipolloi Theatre and Dinefwr 77. Dr. Elaine Davey, Architectural Historian 91. Mari Stevens, Director of Marketing, 78. Alexander Branczik, Head of VisitWales Contemporary Art Europe, Sotheby’s, London Higher Education 79. Mairi Mackay, Director of Creative & 92. Angie Dutton, Research and Enterprise Inclusive Economies British Council Coordinator, Cardiff School of Art 80. Neil Richardson, MAP representative and Design, Cardiff Met University 81. Fran Sanderson, Director, Arts & 93. Gaynor Kavanagh, Professor Emeritus, Culture Investments and Programmes, Cardiff Metropolitan University Nesta 94. Professor Olwen Moseley, Dean of Art 82. Greg Shickle, Head of Platforms, and Design Faculty, Cardiff Met Wavemaker University Consultations, held at Arts Council of 83. Ben Street, Lecturer in Contemporary 95. Sara Pepper, Director of Creative Wales, Oriel Davies, Newtown, and National Art Economy, Cardiff University Museum Cardiff 84. Peter Wakelin, Former Secretary, Royal 96. Professor Alec Shepley, Academic Source: Event, January-April 2018 Commission on the Ancient and Head, School of Creative Arts and Historical Monuments of Wales Professor of Contemporary Art (RCAHMW) Practice, Wrexham Glyndwˆr University

139 Appendix 2: Site Visits

Arts and Cultural Venues Wales 25. The Riverfront Arts Centre, Newport 1. Arcadecardiff, Cardiff 26. Ruthin Craft Centre, Ruthin 2. Aberystwyth Art Centre Gallery, 27. Storiel / Oriel Bangor Gallery, Bangor Aberystwyth 28. Three Doors Up, Cardiff 3. Cardiff Story Museum, Cardiff 29. Tˆy Pawb, Wrexham 4. Chapter, Cardiff 30. Whitewall Galleries, Cardiff 5. Craft in the Bay / Makers Guild in Wales, Cardiff Arts and Cultural Venues Beyond Wales 6. Cyfarthfa Park & Museum, Merthyr 31. Design Museum, London Tydfil 32. Fundación Louis Vuitton, Paris 7. Ffotogallery, Cardiff 33. Hayward Gallery, London 8. National Museum Wales, Cathays Park, 34. Palais de Tokyo, Paris Cardiff 35. Serpentine Gallery, London 9. g39, Cardiff 36. Tate Modern, London 10. Glyndwˆr University, Wrexham 37. Turner Contemporary and The Waste 11. Glynn Vivian Art Gallery, Swansea Land Research Group projects 12. Llantarnam Grange Arts Centre, associated with Journeys with Cwmbran ‘The Waste Land’, Margate 13. Mamhilad, Pontypool 14. Martin Tinney Gallery, Cardiff 15. Mission Gallery, Swansea 16. MOMA Machynlleth, Machynlleth 17. MOSTYN, Llandudno 18. National Library Wales, Aberystwyth 19. Newport Museum and Art Gallery, Newport 20. Old College, Aberystwyth 21. Oriel Davies, Newtown Glynn Vivian, Swansea Arcade Cardiff, Cardiff 22. Oriel Plas Glyn-y-Weddw, Pwllheli Mission Gallery, Swansea g39, Cardiff 23. Oriel Ynys Môn (Anglesey’s Centre for Storiel, Bangor Chapter, Cardiff Art and History, Llangefni) Source: Event, 2018 Source: Event, 2018 24. Pontio, Bangor

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 140 July 2018 Appendix 2: Site Visits

Mamhilad, Pontypool Old College, Aberystwyth Cyfarthfa Park & Museum, Merthyr Tydfil Tˆy Pawb, Wrexham The Riverfront, Newport Aberystwyth Arts Centre, Aberystwyth Oriel Davies, Newtown Pontio, Bangor Newport Museum and Art Gallery, Newport National Library of Wales, Aberystwyth Llantarnam Grange Arts Centre, Cwmbran Plas Glyn-y-Weddw, Pwllheli Source: Event, 2018 Source: Event, 2018 Source: Event, 2018 Source: Event, 2018

141 Appendix 3: Bibliography

The following reports and studies have • Building Resilience: Inquiry into non- • Cultural Transformations: The impacts of HM Treasury (Tracey Crouch MP, and been identified and have contextualised public funding of the arts (March 2018) Hull UK City of Culture 2017 Outcomes Stephen Barclay MP, Nov 2017) Event’s work during the study: • The Thurley Review of Amgueddfa Cymru Evaluation, March 2018 Culture (Place • Industrial Strategy: Creative Industries • ‘A monumental spot of local trouble’, The – National Museum Wales (2017) and Policy Institute University of Hull) Sector Deal, Department for Digital, Independent (J. Glancey, January 1995) • Capital Strategy, 2012-2017 (Arts Council • Culture of Innovation: An economic Culture, Media & Sport, Department for • Area Profile Reports, Arts Council of of Wales) analysis of innovation in arts and cultural Business, Energy & Industrial Strategy, Wales (2014) organisations (Nesta, 2010) The Rt Hon Greg Clark MP, and The Rt • Creative Economy and Future of Hon Matt Hancock MP (March 2018) • A Museums Strategy for Wales (CyMal, Employment (Bakhshi & Windsor, Nesta, • Culture and Poverty: Harnessing the Museums Archives and Libraries Wales, 2015) power of the arts, culture and heritage to • Imagine: Our vision for the arts in Wales, 2010) promote social justice in Wales 2013-2018 (Arts Council of Wales) • Creative Nation: How the creative (Baroness Kay Andrews OBE, March • A Report for the Secretary of State for industries are powering the UK's nations • An independent report for the Welsh 2015) Culture, Olympics, Media and Sport on and regions (Mateos Garcia, Klinger and Government into Arts in Education in the the role endowments could play in DCMS Stathoulopoulos, Nesta, February 2018) • The Culture White Paper (UK Department Schools of Wales (Professor Dai Smith, funded museums and galleries (Neil of Culture, Media and Sport, 2016) 2013) • Creativity vs. Robots: The creative MacGregor, 2010) economy and the future of employment • Destination Culture: How Globalization • Inspire: Our strategy for creativity and • ADUK / Arts Council of Wales Local (Bakhshi, Frey & Osborne, Nesta, 2015) Makes All Cities Look the Same (Sharon the arts in Wales (Arts Council of Wales, Authority Arts Investment & Partnership Zukin) 2014) • Cultural Infrastructure Index 2016 Survey, 2015-16 (AEA Consulting) • The Display of Art in Wales (DCA • International Impact Study: Visual Arts • Arts Council of Wales, Remit-Letter Consultants and Peter Jenkinson, 2006) Activity in Wales (Arad Consulting, Arts • Culture Shifters: Artists Making Change (Welsh Government, 2017) Council of Wales, 2008) (Fern Smith, 2016) • The 2015 Report by the Warwick • Arts Portfolio Wales Survey 2016/17: Commission on the Future of Cultural • Large-Scale Cultural Infrastructure • Creative Learning through the Arts: An Key Findings (Arts Council of Wales) Value (The University of Warwick, 2015) Mapping (Ellis and Schutt, British Council Action Plan for Wales, 2015-2020 (Arts and UKTI, AEA Consulting, 2013) • The Arts Work – Facts and Figures (Arts Council of Wales and Welsh Government) • The future display of visual art in Wales Council of Wales, 2007) – Options Study for a National Centre for • Light Springs through the Dark: A Vision • Creative Scotland’s Arts Strategy, Contemporary Art (ABL Consulting, for Culture in Wales (Ken Skates AM, • Arts in Wales Survey (Arts Council of 2016-17 Wales, 2015) 2008) Cabinet Secretary for Economy and • Creative Scotland 10-Year Plan 2014- • The future of jobs: Employment, Skills Infrastructure, 2016) • Audience Insight Wales – Benchmarking 2024: Unlocking Potential Embracing and Workforce Strategy for the Fourth • Localism 2016-21 A plan for public Audiences for the Arts (Arts Council of Ambition Wales) Industrial Revolution (World Economic services in Wales (Welsh Local • Creative Scotland, Creative Industries Forum, January 2016) Government Association, 2015) • The Bilbao Effect: is ‘starchitecture’ all it’s Partnership, 2009 cracked up to be? A history of cities in 50 • Growing a Culture of Social Impact • Local Museum Provision in Wales (Dr • Creative Scotland, Visual Arts Sector buildings, day 27 (Michael, Chris, The Investing in the UK, Government Haydn E Edwards, Chair of Expert Review, 2016 Guardian, 30 April 2015) Department of Culture, Media and Sport, Review, 2015)

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 142 July 2018 Appendix 3: Bibliography

• The Mendoza Review: an independent • ‘Shifting the dial on inequality in Wales.’ review of museums in England (Neil (Institute of Welsh Affairs, October 2016) Mendoza, Department for Digital, Culture, • Understanding the Value of Art and Media & Sport, UK Government, Culture: The AHRC Cultural Value Project November 2017) (Crossick and Kaszynska, Arts and • Pioneer Area Programme Pilot Year Humanities Research Council, 2016) Evaluation Final Report (Amgueddfa • The Well Being of Future Generations Cymru – National Museum Wales / Welsh (Wales) Act (Welsh Government, 2015) Government; Rebecca Sarasin • The value and impact of Wales’ presence (Knowledge and Analytical Services), at the Venice Biennale for the visual arts 2016) sector in Wales: Wales in Venice (Arad • Plus Tate: Connecting Art to People and Research, 2016) Places (Tate, Schutt, 2015) • Towards A Wales Artists’ Development • Rebalancing Our Cultural Capital: Centre, Shelagh Hourahane (Charlie A contribution to the debate on national Falzon and Michael Roth, Dec 1995) policy for the arts and culture in England • Valuing Place: The importance of place (Peter Stark, Christopher Gordon, David for understanding inequality and taking Powell, 2013) action in Wales (Dr. Hannah Green and • ‘Re-thinking museums – We are all Dr. Mary Hodgson, The Young curators’, TedX Leiden (Erik Schlip, Foundation, Feb 2017) 4 February 2015) • Wales in the World: Wales Arts • Review of the Evidence on Inequality in International Strategy, 2015-2018 (Arts Wales (K. Hackett, and A. Cameron, Council of Wales) Cardiff: Welsh Government, GSR report • Wales Omnibus Survey: Report on Main number 21/2017, 2017) Findings (Arts Council of Wales, 2016) • The Rise of Impact: Five steps towards an inclusive and sustainable economy, UK National Advisory Board on Impact Investing, October 2017 • Rural evidence and data review: Analysis of Arts Council England Investment, Arts and Cultural Participation and Audiences (2015)

143 Appendix 4: List of Figures

Figure 1: (Table) Dedicated national Figure 16: (Table) Total capital investment Figure 28: (Pie chart) Lottery grants Figure 39: (Table) Aligned facilities for modern and contemporary art in Welsh organisations per artform recommendations from Expert Review of Local Museum Provision in Wales Figure 2: (Diagram) Event’s methodology Figure 17: (Table) Total capital investment Figure 29: (Pie chart) GiA grants (Dr. Hayden E Edwards) in PlusTate organisations per artform Figure 3: (Map) Supply map in Wales Figure 40: (Table) Aligned Figure 18: (Timeline) Overview of capital Figure 30: Word cloud showing frequency Figure 4: (Map) Supply map in Cardiff recommendations from Valuing Place, investment in Welsh cultural projects over of words within visions and missions of a The Young Foundation Figure 5: (Table) A non-exhaustive sample the last 18 years selection of national art galleries across of the arts and culture organisations in the world (outlined in Appendix 7) Figure 41: (Table) Aligned goals from Future Figure 19: (Table) Welsh projects in the Wales, illustrating the nature and scale of Generations Act pipeline Figure 31: (Table) Longlist options the venues Figure 42: (Table) Aligned Figure 20: (Table) Capital investment in arts Figure 32: (Diagrams) Recommended Figure 6: (Table) Art & Design universities, recommendations from Culture and organisations globally, ranging from £1m scalable and phased approach Top 65 UK Rankings Poverty (Baroness Kay Andrews OBE) to £850m Figure 33: (Table) Scenario one indicative Figure 7: (Table) Top 50 Global rankings Figure 43: (Table) Aligned objectives from Figure 21:(Pie chart) Announced and capital costs for three phases, showing Make: Reach: Sustain: the future of the arts Figure 8: (Diagram) Artists Professional completed capital investment in arts scalable costs in Wales (Arts Council of Wales) Cycle organisations globally by type Figure 34: (Table) Scenario two indicative Figure 44: (Table) Preliminary capital costs Figure 9: (Table) Number of visits to Figure 22: (Graph) Announced and capital costs for three phases, showing for contemporary art gallery based on contemporary art galleries at the National completed capital investment in arts scalable costs current sqm rates (based on international Museum Cardiff organisations globally by region Figure 35: (Diagram) Indicative annual benchmarks) Figure 10: Number of visits per annum Figure 23: (Table) Scale of largest and running costs of Phase two: Distributed Figure 45: (Table) Indicative centralised average modern and contemporary art Gallery Figure 11: (Table) Percentage of people resource / operational costs for scenario exhibition spaces in Wales within the Welsh regions who have visited Figure 36: (Timeline) Indicative phased and one, phase one an art gallery Figure 24: (Table) Sizes of example touring progressive approach to delivering the Figure 46: (Table) Indicative centralised exhibitions National Contemporary Art Gallery Wales Figure 12: (Map) Wales Ways resource / operational costs for scenario Figure 25: (Table) Accredited Welsh Figure 37: (Table) Aligned one, phase two Figure 13: (Table) Arts organisations on the museums recommendations from Building Resilience Wales Ways Figure 47: (Table) Population estimates by – Inquiry into the Non-Public Funding Figure 26: (Table) Visual arts portfolio, local authorities Figure 14: (Timeline) Key policies and of the Arts average 1 year spend papers Figure 48: (Map) Population and area, Figure 38: (Table) Aligned Figure 27: (Graph) Tripod economy the countries of the UK Figure 15: (Table) Public capital investment recommendations from Sharing Treasures: by region in Welsh arts organisations Past and Future

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 144 July 2018 Appendix 4: List of Figures

Figure 49: (Table) Percentage of Welsh residents by area type Figure 50: (Map) Population density Wales Figure 51: (Map) Percentage of Welsh speakers in the area Figure 52: (Map): Gross value added per head Figure 53: (Table) Regional population estimates Figure 54: (Table) Preliminary capital costs for contemporary art gallery based on current sqm rates

145 Fountainhead, 2006 Source: Peter Finnemore Appendix 5: The Market

147 Appendix 5: The Market

Wales Context Approximately 2.3m of the total population Around one fifth of the population of Wales Wales is the second smallest of the home live in the south of Wales (Figures 47 and say they can speak Welsh. 12 Those Welsh- nations of the four parts of the United 50). According to the 2011 census, 18% speaking communities tend to be located in Kingdom. It shares its eastern border with (563,000) of the population were aged the North and West (Figure 51). England and is bordered by the Irish Sea to 65 and over, and 6% (178,000) of the the north and west and the Bristol Channel population in Wales were children Wales had the lowest GVA per head at to the south. under five. 6 £19,140 but its growth per head between 2015 and 2016 was the highest of the UK The latest available population estimate for 27% (837,000) of the total population of nations at 3.5%. It is also the fastest Wales indicates that approximately 3.1m Wales was born outside Wales and of this growing of the UK nations (1.9%) when people live in Wales (Figure 48). 1 This is figure 76% were born in England (2011). 7 inflation is taken into account. But Wales’ approximately 1 in 20 people in the UK. 2 GVA is still behind Northern Ireland on It equates to 1.3 million households across In January 2017 there were 1,547 £19,997 per head; Scotland on £24,800 the nation (2016). 3 maintained schools, and approximately and England with £27,108 13 (Figure 52). 467,000 pupils. 475 schools teach in Wales comprises nearly 2.1m hectares of Welsh. 8 There were 128,005 enrolments at land, of which 80% is used for agriculture. 4 higher education institutions in Wales in The largest urban areas are Cardiff 2016/17. 9 Those studying creative arts and (361,500 people), Swansea (244,500 design (across 10 out of 13 universities) 10 people) and Newport (149,100 people) account for 6% of this number. 11 (mid 2016). 5 Figure 49 shows the 6 Ibid proportion of the population living in largely 7 Welsh Government, Office for National Statistics, 2011 rural (one-third of the population) and Census: Key Statistics for Wales, Population Estimates (Mar 2011): https://www.ons.gov.uk/peoplepopulationandcommunity/ urban areas. populationandmigration/populationestimates/bulletins/2011cen suskeystatisticsforwales/2012-12-11#tab---Usual-residents- born-outside-the-UK 8 Welsh Government, Office for National Statistics, Schools Census: http://gov.wales/statistics-and-research/schools- 1 Welsh Government, Office for National Statistics, Mid-year census/?lang=en population estimates: http://gov.wales/statistics-and-research/ 9 Welsh Government, Office for National Statistics, Students mid-year-estimates-population/?lang=en in Higher Education Institutions: http://gov.wales/statistics-and- 2 Ibid research/students-higher-education-institutions/?lang=en 3 Welsh Government, Stats Wales, Household Estimates: 10 Universities with creative arts and design students include https://statswales.gov.wales/Catalogue/Housing/Households/ Swansea University, Grwˆp Llandrillo Menai, The Open Estimates University, Cardiff University, Bangor University, Wrexham 4 Welsh Government, Office for National Statistics, 2011 Glyndwˆyr University, Aberystwyth University, Cardiff 12 Welsh Government, Stats Wales, Welsh Language: https:// Census: Key Statistics for Wales, Welsh Agricultural Statistics Metropolitan University, University of Wales Trinity Saint David, statswales.gov.wales/Catalogue/Welsh-Language (Mar 2011) University of South Wales 13 The Office for National Statistics (ONS) has published 5 Welsh Government, Office for National Statistics, Mid-year 11 Welsh Government, Office for National Statistics, Students regional gross value added (GVA) figures for 2016, which population estimates:http://gov.wales/statistics-and-research/ in Higher Education Institutions: http://gov.wales/statistics-and- measures how much money is generated through goods mid-year-estimates-population/?lang=en research/students-higher-education-institutions/?lang=en produced and services delivered.

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 148 July 2018 Appendix 5: The Market

Location Population Area in Wales % of the population WALES 3,113,150 Rural 32.7

Isle of Anglesey, Gwynedd, NW 69,723 Valleys 20.6 Gwynedd, Gwynedd, NW 123,627 Cities 24.1 Conwy, Clwyd, NE 116,538 Mixed 22.6 Denbighshire, Clwyd, NE 94,805 Scotland Flintshire, Clwyd, NE 154,419 Figure 49: Percentage of Welsh residents 5,404,700 by area type Wrexham, Clwyd, NE 136,710 80,239 km2 Source: Office for National Statistics, 2015 Powys, Powys, Mid / E 132,160 Ceredigion, Dyfed, SW 74,146 Pembrokeshire, Dyfed, SW 123,954 Carmarthenshire, Dyfed, SW 185,610 Swansea, W Glamorgan, SE 244,513 Neath Port Talbot, W Glamorgan, SE 141,588 Bridgend, Mid Glamorgan, SE 143,177 Northern Ireland Vale of Glamorgan, South Glamorgan, SE 128,463 England 1,862,100 55,268,100 Cardiff, South Glamorgan, SE 361,468 14,130 km2 132,938 km2 Rhondda Cynon Taf, Mid Glamorgan, SE 238,306 Merthyr Tydfil, Mid Glamorgan, SE 59,810 Wales 3,113,200 UK population estimate: 65,648,100 Caerphilly, Gwent, SE 180,462 21,225 km2 Share of UK population: Blaenau Gwent, Gwent, SE 69,628 • England 84.2% Torfaen, Gwent, SE 92,052 • Scotland 8.2% Monmouthshire, Gwent, SE 92,843 • Wales 4.7% • Northern Ireland 2.8% Newport, Gwent, SE 149,148

Figure 47: Population estimates by local Figure 48: Population and Area, Northern Ireland Statistics and Research authorities The Countries of the UK Agency, June 2016 Source: Office for National Statistics, Source: Event, Office for National Mid-2016 Statistics, National Records of Scotland,

149 Appendix 5: The Market

Figure 50: Population density Wales Figure 51: Percentage of Welsh speakers Figure 52: Gross Value Added per head Source: Office for National Statistics, in areas (2016) 2011 Census Source: Office for National Statistics, Source: Office for National Statistics, 2011 Census December 2017

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 150 July 2018 Appendix 5: The Market

Tourist Market Marketing activity funded by Visit Wales is a holiday (62% main holiday, 12% Wales’ heritage sites and visitor This section highlights three tourist focused on three main international secondary holiday) while around a fifth attractions). 22 markets that are potentially lucrative for markets – Ireland, Germany and USA and (21%) came for a short break. 20 any new national contemporary art market Canada – within The Welsh Government Most overseas visitors (42%) highlighted to target, given their motivations for visiting Strategy for Tourism 2013-2020: Visitors come for the Welsh countryside the importance of seeing or hearing the Wales and projected spend – Overseas Partnership for Growth. 16 and landscape and to visit places and Welsh language, with an even larger Tourist Market, and two Domestic Tourist The majority of international tourists are attractions. Most popular activities in Wales majority (82%) saying it is important that Markets – UK Day Visitors and UK Staying fairly young, aged 35-54 (43%) and fall into include: visiting a castle or historic their trip gives them an experience Visitors. the ABC1 17 social classes in the visitor attraction (43%), general sightseeing distinctive to Wales and that they could not profile, especially among visitors from (38%), visiting a museum or heritage centre have found anywhere else. 23 Overseas tourist market North America (88%). (33%), visiting the beach (31%). 9% of all Wales has strong appeal for international overseas visitors visited an art gallery or Domestic tourist market travellers, in a recent survey 29% of people Wales also attracts international couples exhibition. 21 It is unclear if this The GB domestic market is the primary choose Wales as their main destination. (34% in 2016) and families with young disproportionately low figure (9%) is due to market for Wales and is the main focus for 2/3 of international holidaymakers are more children (14%) 18 and since 2013 there has the fact that art galleries are not currently marketing activity. interested in coming to the UK for a been an increase in repeat visitation (from prioritised in Welsh marketing materials; vacation with the weakness of the pound 21% to 33%), with more people visiting 2-6 if those currently being targeted are In the 12 months ending July 2017, there (and therefore higher spending power) times in the last three years (from 16% to uninterested in art galleries and there is were 10m tourism day visits to Wales, with cited as major factor. 14 29%). 19 Thus it is unsurprising that Wales is a requirement to target those markets with an associated spend of £4,874m. The primarily a holiday destination rather than an interest; or if visual art galleries simply number of visits has increased 11% International visitors are a relatively high a short-break destination, with three- are not an attraction. compared to the 12 months ending July spending market but historically have been quarters of overseas visitors coming for 2016, while the amount spent has of lower importance for Wales, accounting Sense of place is a key driver for increased 51%.Wales’ performance is for just 8% of all staying trips and 16% of all 16 Ibid international tourists with the great majority particularly strong in the GB context: staying visitor expenditure. Scotland, 17 Socio-economic classification is determined by establishing of overseas visitors considering that some an individual’s job title and position and social grades are Ireland and the English regions attract defined as follows: aspect of their visit included features that significantly more international visitors than AB: Higher and intermediate managerial, administrative and were distinctively Welsh or that they could professional occupations Wales. As a result, Wales’ market share of C1: Supervisory, clerical and junior managerial, administrative not have found elsewhere (in particular all international trips has been gradually and professional occupations C2: Skilled manual workers falling from 3.6% to 2.7% and share of DE: Semi-skilled and unskilled manual workers, state 22 Fiona McAllister/Sarah McDonough, Full Research Report; spending from 2.15% to 1.86% between pensioners, casual and lowest grade workers, unemployed with Welsh Government, GSR report number 14/2017, Wales Visitor 15 state benefits only Survey 2016 Report: Overseas Visitors: When asked whether 2002 and 2012. 18 Fiona McAllister/Sarah McDonough, Full Research Report; 20 Ibid any aspects of their visit included features that were Welsh Government, GSR report number 14/2017, Wales Visitor 21 Fiona McAllister/Sarah McDonough, Full Research Report; distinctively Welsh or had a particular local character, heritage 14 Dylan Jones-Evans, How tourism can be a shining star in Survey 2016 Report: Overseas Visitors. Cardiff (08 Mar 2017) Welsh Government, GSR report number 14/2017, Wales Visitor sites and visitor attractions were each chosen by around half of the Welsh economy post Brexit (Wales Online, 5 May 2017) http://gov.wales/statistics-and-research/wales-visitor- Survey 2016 Report: Overseas Visitors. Cardiff (08 Mar 2017) overseas visitors as setting Wales apart from other destinations 15 Welsh Government, The Welsh Government Strategy for survey/?lang=en http://gov.wales/statistics-and-research/wales-visitor- (49% and 45% respectively). Tourism 2013 – 2020, Partnership for Growth, 15 19 Ibid survey/?lang=en 23 Ibid

151 Appendix 5: The Market

UK Region Population for GB as a whole, the number of visits has During the period between January and Levels of repeat visits are high, with 89% of Estimate decreased by 1% compared to the 12 December 2017 there were 9.02m trips UK day visitors having taken a day trip in months ending July 2016, while the amount to Wales by overnight domestic visitors, and to Wales more than once in the last UK 65,648,054 spent has increased 5%. 24 a 3.0% decrease when compared to the year. 31 Most often, day trippers are coming England 55,268,067 previous year. Similarly spend also for Wales’ countryside and to visit places North East 2,636,589 Wales continues to have a core market in decreased by 3.6% to £1,628m. 27 and attractions. Main activities include: North West 7,223,961 domestic holiday visitors, with the main general sightseeing (25%), visiting a castle Yorkshire and the Humber 5,425,370 regions of origin for holiday and other trips Levels of trips and nights in Great Britain by or historic attraction (22%), visiting country to Wales continuing to be from Wales itself British residents have increased slightly and forest parks (20%), and visiting the East Midlands 4,725,390 and the adjacent regions of North West during January to December 2017 when beach (19%). A quarter of UK day visitors in West Midlands 5,810,773 England and West Midlands, which account compared to January to December 2016; 2016 were in Wales to take part in outdoor East 6,129,005 for more than half of all domestic trips and trips increasing by 1.0% to 120.68m and or sporting activities; those visiting a London 8,769,659 spend to Wales. It is worth noting this nights by 2.8% to 369.46m. Over the same museum or heritage centre 18% and those South East 9,030,347 cross-border tourist market as the North- period, the level of related expenditure visiting an art gallery is as low as 5%. 32 South West 5,516,973 West and West Midlands has a population increased by 2.6% to £23,683m. The question associated with this is why? of more than 13 million (Figure 53). 25 Is it that these sites are not being marketed Figure 53: Regional population estimates UK Day Visitors sufficiently in the UK or that there is not Source: Office for National Statistics Moreover, there are 13 urban areas that Approximately one-third of day-trippers enough interest in the visual and applied (mid-2016) exceed 500,000 inhabitants in the UK. come from outside Wales (32%). 28 arts? At least 8 of them are less than 2 hours from the Welsh border by car or train, Wales continues to attract day-tripping For the vast majority (86%) of UK day- including London, Birmingham, Leeds and families and couples. 29 In 2016, there was trippers who lived outside of Wales there is Bradford, Sheffield, Liverpool, Manchester, an increase in the number of 16-34 year old a clear reliance on car travel to get to Bristol. Visit Wales marketing activity is day-trippers, coinciding with a drop in over Wales, with only 6% using public transport being focused on holiday makers from 55s. Day visitors tended to be middle (3% train; 3% public bus or coach). 33 London and the South-East, East Midlands, classes, making up 65% of those taking a This is reflected in the prevalence of those Yorkshire and the South West England. 26 day trip to and in Wales and an even higher traveling to their destination by car (84%). proportion amongst visitors from England Just under one in ten used public transport 24 http://gov.wales/newsroom/culture-tourism- in 2016 (72%). ABC1s make up 53% of the (6% bus or coach, 3% train). 34 sport/2017/170912-huge-increase-in-visitor-spending-in- 30 wales/?lang=en UK population. 25 http://gov.wales/topics/culture-tourism-sport/ tourism/?lang=en https://www.ons.gov.uk/ 27 Domestic visitors statistics, January 2017 - December 2017, peoplepopulationandcommunity/populationandmigration/ Office of Statistics and Research, Welsh Government populationestimates/datasets/ 28 Fiona McAllister/Sarah McDonough, Full Research Report; populationestimatesforukenglandandwalesscotlandand Welsh Government, GSR report number 14/2017, Wales Visitor 31 Ibid northernireland Survey 2016 Report: UK Day Visitors. Cardiff 32 Ibid 26 Welsh Government, The Welsh Government Strategy for 29 Ibid 33 Ibid Tourism 2013 – 2020, Partnership for Growth, 15 30 Ibid 34 Ibid

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 152 July 2018 Appendix 5: The Market

There are clear regional differences cases, even more so amongst visitors from the other markets, UK holiday makers’ regarding the types of places visited. In SE England. Although there has been an primary reasons for coming to Wales were Wales, two fifths of day visitors visited a increase in the proportion of 16-34s its landscape and to visit places and museum or heritage centre on their trip coming to Wales, the overall representation attractions. The most popular activities (40% cf. 34% overall) while in SW Wales, of younger people visiting Wales continues included visiting the beach (42%), general over two fifths visited a nature-based to be lower than the proportion of younger sightseeing (38%), visiting a castle or attraction (42% cf. 22% overall). In contrast, adults visiting the UK. 39 Looking at their historic attraction (30%), visiting country around six in ten of day visitors to North home region, there is a significantly higher and forest parks (31%), walking more than and South West Wales were visiting to proportion of younger visitors (20%) and a 2 miles (24%) and visiting a museum or enjoy the landscape / countryside / lower representation of older people aged heritage centre (24%) Visiting an art gallery beaches (63% and 66% respectively cf. 55+ coming from England (39%) compared or exhibition still remained low at 8%. 44 54% all Wales average). Visitors to Mid and to Wales (13% 16-34; 47% 55+). 40 South West Wales were also more likely to mention taking part in outdoor activities as Wales continues to attract couples and their reason for visiting (29% and 35% families. 41 Roughly equal proportions having respectively cf. 25% all Wales average). 35 visited once in the last three years (31%), 2-3 times (31%) or 4 times or more (38%). 42 UK Staying Visitors The vast majority of UK staying visitors live Wales is primarily a short-break destination in England (84%), with only 14% living in for UK visitors. Just over half UK staying Wales and 3% in Scotland and Northern visitors came for a short stay (55%), while Ireland. 36 The staycation trend has around two fifths (41%) visited for a longer supported the attraction sector. 37 holiday. A quarter of people overall said There were 9.3m overnight tourist trips their trip to Wales was their main holiday to Wales by GB residents in 2016. 38 of the year. 43

UK holiday makers are most likely to be Almost one in three UK staying visitors in aged 35-54 and fall into the ABC1 social 2016 came to take part in outdoor or sporting activities and approximately 10% 35 Ibid 36 Fiona McAllister/Sarah McDonough, Full Research Report; said this was their main motivation. As with Welsh Government, GSR report number 14/2017, Wales Visitor Survey 2016 Report: UK Day Visitors. Cardiff 39 Fiona McAllister/Sarah McDonough, Full Research Report; 37 Krishan Kawol, Tourism Research – Welsh Government. Welsh Government, GSR report number 14/2017, Wales Visitor Tourist Attractions: Current Trends, Welsh Government Social Survey 2016 Report: UK Staying Visitors. Cardiff Research, 2013 40 Ibid 38 Welsh Government, Office for National Statistics, Great 41 Ibid Britain Tourist Survey: http://gov.wales/statistics-and-research/ 42 Ibid great-britain-tourist-survey/?lang=en 43 Ibid 44 Ibid

153 Fondation Louis Vuitton, Paris Source: Event, December 2017 Appendix 6: Longlist Options Option 1: Sharing Contemporary Arts Partnership

“…The landscape is quite fragile. Whatever it is, it has to be something that contributes to the ecosystem in some way.” Arts Leader

“The collection should be “With something like dispersed as it belongs Sharing Treasures there is to everyone in Wales. a risk it won’t last. It can be It is a key objective in the cut too easily and can leave [National] Museum to make without a trace.” Curator their collection accessible as possible. There have been schemes like Sharing Treasures, which had a separate fund stream for shows across Wales.” Curator

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 156 July 2018 Option 1: Sharing Contemporary Arts Partnership

Model Description museum or on a group of partners working It is worth noting that some visual arts 60sqm Back of House (BoH), to £7m, A refreshed model that revisits and builds with Amgueddfa Cymru or another organisations in Wales already have the for a large site that includes a 1,200sqm on the successes and learnings from the organisation. requisite environmental conditions to temporary gallery, 400sqm exhibition Sharing Treasures gramme (2002-2014/15). accept works from the national collection. storage and 60sqm BoH space; It encourages co-curation between partner Category 3 – A few projects with good However: • Partners categorised in 2 and 3 do not sites and, through sufficient resource, programming and support, based on the • The staff capacity for both partners require capital investment in the first ensures that visual art works from the ArtShare model of longer term engagement. (i.e. Amgueddfa Cymru and the recipient instance. national collection(s) are made available to It is not expected that this category would organisation) to process any such a number of selected visual arts include funding for major capital works. requests is severely limited; Operational components organisations across Wales. • The cost to borrow works of art Leadership and Team The original Sharing Treasures partners (i.e. insurance, transport, exhibiting) • Partner Committee made up of key staff As a second stage, UK organisations could were primarily museums. SCAP is a is often prohibitive; at each of the sites ensures a coherent be approached to extend to partners partnership between organisations that • Crucially, and perhaps as a result of curatorial voice for joint exhibitions; across the UK and to increase the visibility focus on modern and contemporary visual these limitations, Amgueddfa Cymru • A roaming Arts Director provides a of the UK national collections in Wales. art and design. receives more requests for loans from catalyst for new curatorial approaches outside of Wales than in; and programming at each of the sites; As identified in the Sharing Treasures The members of the SCAP network would • That said, governance influences had • Equal relationships across sites, rather Review (2011), the Sharing Contemporary have opportunity to: affected funding and implementation of than being dictated outward from Arts Partnership (SCAP) could be delivered Sharing Treasures. In some cases, key Amgueddfa Cymru; through three categories: • Readily borrow works of art from the visual arts venues were unable to access • Extended capacity and clear dedicated national collection, housed at Amgueddfa Sharing Treasures due to the requirement staff time at Amgueddfa Cymru and Category 1 – Capital improvements to Cymru. This could be extended to include to be an accredited museum, library or partner sites in order to deliver the permanent or temporary galleries containing borrowing works of art from the national archive. national collection programmes and national loans. This should involve a three- collection held at National Library Wales associated education and community year rolling programme to achieve optimum (NLW); Capital requirements programmes; outputs. A two-stage bidding process would • Display a pre-curated exhibition with • As shown in the three categories above, • Potential for shared resource pool across begin with a development phase to work up educational materials included; partners in Category 1 are assessed to visual arts ecology relying on anchor a full application which would include a • Co-develop exhibitions in partnership determine if they require capital uplift; organisations for fundraising, marketing, facilities report so that plans are fully costed with any of the other members, drawing • Partners in Category 1, the capital cost is conservation; with achievable timetabling. on works of art from the national likely to be in the region of £4,000 • Clear opportunities for professional skills collection; per sqm; development – both formal and informal. Category 2 – Development of touring • Recommend works for acquisition to the • A preliminary budget might be anywhere exhibitions, either based on a temporary national collection; from £1.9m for a refurbishment of a small exhibition that was developed for a partner • Share professional skills. site that includes a 300sqm temporary gallery, 100sqm exhibition storage and

157 Option 1: Sharing Contemporary Arts Partnership

Programme and Exhibition • Community in-reach required to extend Partners • Temporary exhibition installed regularly audiences beyond those visiting. • Visual art organisations can apply to (6-8 different small exhibitions per Co-curation with targeted groups. formally participate in the scheme and annum; or 2-3 large shows that are Formal engagement officers required; are classified according to the three distributed across the multiple sites); • Clear understanding of local audiences categories recommended above; • Small temporary exhibitions rotate at each venue to ensure audience needs • Partners could be added regularly or around the venues to ensure widest and interests are being met. an annual basis, so long as staff capacity reach in terms of audiences; is scaled in tandem. • Of the temporary exhibitions, 1-2 larger Commercial Opportunities joint curated temporary exhibitions • Catering, retail, events, hire personnel Timescale designed to tour nationally / required. • Year 1: Set up (6 months); recruit/identify internationally. key partners; assess capital Marketing requirements; establish curatorial Collections Mobility • Emphasis on local, regional, national decision-making committee; establish • Funding made available for transport, marketing and international tourism and brand; insurance and display; cultural industry. • Year 2: Venues with suitable conditions • Medium logistics internally and low could host touring shows; transport and insurance costs regarding Development • Year 3: By year 3, 2-4 venues could be collection movement (i.e. some of the • Classically diverse fundraising strategy upgraded to accommodate category 1; permanent collection will still need to be – trusts, foundations, individual donations • Year 4 on: Rolling programme of tours de-installed when a temporary exhibition and corporate sponsorship; and upgrades. is shown at National Museum Cardiff); • Crowd-funding opportunities through • Externally, high costs associated with locals funding the next programmes or collections movement. Medium transport loans to come to their area. and insurance costs. Maintenance Education and Engagement • Security and insurance requirements at • Onsite and online formal and informal all sites; learning. A coherent education offer • Maintenance requirements for outdoor across all sites; artworks. • Early involvement of learning and marketing teams from the national museum and partner organisations to ensure that there is an integrated approach;

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 158 July 2018 Option 1: Sharing Contemporary Arts Partnership

Added Value to Wales

Extends the cultural tourism offer across Wales

Alleviates the Cardiff-centric concerns amongst non-Cardiff-based audiences and organisations

Results in small economic impact with combined supply-chain and induced spending in local area including construction employment

Strengths Weaknesses (note risks overleaf)

Ensures that the national collection is consistently mobile, providing greater and more democratic Lacks visibility unless well-marketed and branded access to more people in Wales Encourages a more joined-up, formalised strategic plan across Wales visual arts sector Without delivering the Category 1 capital investment the programmes risks being dismantled if funding decreases or is eradicated Requires low capital investment upfront and any capital investment could be staggered over time Possibly prohibits other works being shown simultaneously due to space constraints within the partner galleries Incrementally improves gallery conditions (size, environmental and security conditions) across Potentially lacks components of a true national brand Wales, resulting in the whole sector benefiting Builds upon a tried and tested model (through Sharing Treasures), which already has a set of recommendations to better the outcomes and evaluation Ensures quick implementation – Category 2 and 3 programmes are easily implemented

Provides professional skills uplift to staff through partnership working

Can generate additional involvement and participation for local audiences, which can otherwise be isolated from such opportunities Could work in parallel or sequenced with other models

159 Option 1: Sharing Contemporary Arts Partnership

Risks Mitigation Likelihood Impact Risk Score of occurring if it occurs (1=low, (1=low, 5=high) 5=high) Closely bound in heritage identity of the Amgueddfa Cymru Develop clear branding strategy at early stage; Creatively use Amgueddfa 3 2 6 Cymru’s heritage identity to the Partnership’s advantage Lacks components of a true brand and might be seen only as a programme Recruit leadership and management with collaborative ethos, strong 3 4 12 being delivered by the Amgueddfa Cymru, rather than as a dynamic communication skills and ambitious vision; Develop clear branding strategy contemporary art gallery competing on an international stage at early stage; Build appropriate marketing costs into operating model Addresses access improvements in the gallery, rather than providing any Ensure exhibitions and programming are ambitious and creatively use 5 2 10 requirements of an ambitious 21st Century gallery spaces in and outside galleries Decelerated by bureaucracy / working cross departmentally at local Put clear decision-making processes in place at programme outset; 4 4 16 authority level resource departments so they are able to deliver efficiently and effectively; Identify specific barriers at programme outset and find ways to address these through staff structures, communications and decision-making Risks drawn from the Sharing Treasures evaluation remain relevant:

Staff see delivering Sharing Treasures as an add on to their existing job Build buy-in for programme at early stage, working closely with all partners 2 5 10 description, rather than integrated to understand if/how this integrates with existing job function and what additional resource would be required; Hold quarterly meetings with sector- wide team with clear agenda to discuss how programming is developing, where there are difficulties and how these can be addressed; Celebrate and promote successes of Partnership formally and informally – internally and externally The programme exists only in the consciousness of the museum Identify existing and target audiences and develop consistent 2 5 10 profession; There is no differentiating factor for audiences to grasp communications; Develop clear brand identity at early stage; Build appropriate marketing costs into operating model Lack of recognition from the Welsh Government Track and measure success of programme – its impact audiences in 3 5 15 particular; Celebrate and promote successes of Partnership externally

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 160 July 2018 Option 1: Sharing Contemporary Arts Partnership

Celf Cymru Gyfan – ArtShare Wales Cyfoeth Cymru Gyfan – Sharing Treasures (The Cliff at Penarth, evening, low tide, SISLEY, Alfred, 1839-1899)

Artist Rooms: Leeds Art Gallery, Leeds, Joseph Beuys, 2018 Tate, Sol LeWitt, Wall Drawing #1136, 2004 BALTIC+ Anselm Kiefer: Palm Sunday, 2006

161 Option 2: Charm Bracelet

“A great deal to be said for a distributed approach. It’s a sophisticated model that emphasises strength of existing collections and provide exhibitions that tour to strengthen venues as a national programme. Something could be co-curated by all of them. A distributed collection and distributed curating service.” Director

“Do people go to buildings? “A distributed / extended Do buildings need to change national collection / gallery to get them to come in? would be an excellent idea… If it is a grandiose building because the landscapes and in Wales how can you seascapes of Wales have provide access to the people played such an important of Wales. I’m in support of role in inspiring the spread out model.” contemporary Welsh art Director that the art is perhaps best understood by being displayed within its landscape context – close to where it was made.” Institution Director

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 162 July 2018 Option 2: Charm Bracelet

Model Description A preliminary budget for a semi-permanent • Clear opportunities for professional skills • Cardiff is automatically one of the sites A select group of modern and small new extension would be £4.5m. development – both formal and informal; that receives a semi-permanent contemporary visual art and design This assumes approx. 480sqm public • Extended capacity for delivering national extension); galleries (6-8 organisations) receive a space, 300sqm of temporary gallery space, collection programmes and associated • Externally, medium costs associated with semi-permanent extension to their physical approximately 300sqm of collection education and community programmes collections movement. Medium transport site that is branded as the National storage and associated amenities and that meet the audience requirements of and insurance costs. Contemporary Art Gallery Wales. A single 300sqm BoH space. each associate venue (not a one size fits curatorial programme threads its way all approach to education and outreach); Education and Engagement through each of the associate sites. A preliminary budget for a semi-permanent • Robust marketing plan to ensure visibility • Early involvement of learning and The galleries in the network would medium extension would be iro £8m. and brand identity; marketing teams from the national establish an equal partnership to work This assumes approx. 600sqm public • Potential for shared resource pool across museum and partner organisations to together to deliver a national body of work. space, 800sqm of temporary gallery space, visual arts ecology relying on anchor ensure that there is an integrated Programmes could be showcased across approximately 600sqm of collection organisations for fundraising, marketing, approach. Onsite and online formal and the bracelet in any number of formations storage and associated amenities and conservation. informal learning. A coherent education (for example, a programme or exhibition 480sqm BoH space. offer across all sites; can move from one venue to the next; or Programme and Exhibition at each venue • Clear understanding of local audiences could tell a story across all partner sites). A preliminary budget for a semi-permanent • Associate venues still offer their current at each venue to ensure audience needs large extension would be iro £13m. programmes, but have a national and interests are being met; Capital Requirement This assumes approx. 940sqm public collection/gallery designated as a • Community “in-reach” required to New capital structure to be put in place at space, 1,300 sqm of temporary gallery and physical space on (or near) site; extend audiences beyond those visiting. each venue; level of investment would vary community space, approximately 950sqm • Associate venues are expected and Co-curation with targeted groups. based on size of structure, longevity and of collection storage and associated encouraged to ensure cohesive Formal engagement officers required. recent capital works (for example, Glynn amenities and 830sqm BoH space. programme alignment between the Vivian’s 2016 extension, by way of example national and their independent work. Commercial Opportunities only, does not currently need a new Operational components • Catering, retail, and events personnel physical structure; however as part of the Leadership and Team Collections Mobility required. network, a pop-up architectural solution • Curatorial committee that ensures a • Minimal logistics internally and low could be put in place near to the site coherent curatorial voice for joint transport and insurance costs regarding Marketing branded as the National Contemporary Art exhibitions; collection movement (i.e. permanent • Emphasis on local, regional, national Gallery Wales). • Equal relationships across venues, rather collection does not need to be de- marketing and international tourism and than being dictated outward from installed when a temporary exhibition is cultural industry. The capital cost for a semi-permanent Amgueddfa Cymru; shown assuming that National Museum; extensions is likely to be iro £3,000-£3,500 per sqm.

163 Option 2: Charm Bracelet

Development • Year five: Additional partners added • Classically diverse fundraising strategy according to identified assessment – trusts, foundations, individual donations criteria; and corporate sponsorship; • Ongoing: evaluation of programme (any • Necessity to quantify and cultivate Welsh venues that are not working to be diaspora; addressed or removed) potential for • Potential to ensure Amgueddfa Cymru’s further partners to be added. new membership scheme deploys best practice in building membership community.

Building Maintenance • Consistent and predictable facilities, maintenance and security costs in line with industry averages.

Partners 6-8 sites selected for their strategic alignment including: • Geographical location and catchment; • Curatorial focus (e.g. Pontio /circus; Plas Glyn-y-Weddw/artist residences); • Governance.

Timescale • Year one: Identify partners and establish curatorial committee; establish branding; assess capital opportunities at each partner venue; • Year two-four: Establish curatorial programme; roll out capital extensions

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 164 July 2018 Option 2: Charm Bracelet

Added Value for Wales

Extends the cultural tourism offer

Expresses confidence in the visual arts and raises its visual arts profile in and out of Wales

Alleviates the Cardiff-centric concerns amongst non-Cardiff-based audiences and organisation

Combined supply-chain and induced spending in local area including construction employment and potentially additional visitor spend

Strengths Weaknesses (note risks overleaf)

Allows for a pilot phase to test what is working, where footfall or reach has increased at sites and Requires buy-in from planners and local authorities how the idea might be scaled. More permanent structures could be put in place once worth proved Ensures collection is widely distributed across Wales and unseen collections are made visible Not all visual arts organisations can participate

Ensures national is truly national and geographically dispersed It requires space beyond the existing building footprint

Potential for different architectural interventions at each site, celebrating the uniqueness of each Creates increased competition for funding, particularly from foundations and trusts venue Allows for current partners’ current programmes/displays to be delivered and exhibited; i.e. they do not need to be removed for the collection to be shown Inspires dialogue and juxtaposition between partners’ existing programmes and works from national collection Improves curators’ professional development through joint working (arranging loans and partnership exhibitions) Encourages all organisations to raise their game to be seen as a destination on the bracelet

Does not rely on the infrastructure within existing building

This model allows for both split-venue touring (showing in several sites simultaneously) as well as consecutively Could be seen in parallel or delivered in sequence with other models

165 Option 2: Charm Bracelet

Risks Mitigation Likelihood Impact Risk Score of occurring if it occurs (1=low, (1=low, 5=high) 5=high) Visual arts organisations feel excluded from the Bracelet and any related Develop and communicate clear rationale and criteria for why organisations 5 4 20 public or private funding opportunities are included in the bracelet; Identify programmes, research, exhibitions or knowledge-sharing events that actively include non-bracelet members; Ensure sector-wide advocacy for the visual arts integrates coordinated messages from the entire sector Not perceived to be locally relevant as a one-size-fits-all approach Undertake research and facilitate conversations that enable partners to 1 3 3 develop shared aims and interests; Identify unique attributes, audiences and possibilities at each site to position each venue as distinctive Lack of limited visitation to some sites (e.g. rural) Ensure attractive proposition is communicated about each site; Identify 3 4 12 opportunities and incentives to encourage repeat visitors, and encourage visitors to travel across the network; Partner with VisitWales to ensure all venues are actively promoted to domestic and international tourists Staff see delivering the national gallery extension programme as an add on Build buy-in for programme at early stage, working closely with all partners 2 5 10 to their existing job description, rather than integrated to understand if/how this integrates with existing job function and what additional resource would be required; Hold quarterly meetings with sector- wide team with clear agenda to discuss how programming is developing, where there are difficulties and how these can be addressed; Celebrate and promote successes formally and informally – internally and externally Lack of recognition from the Welsh Government Track and measure success of programme – its impact audiences in 1 5 5 particular; Celebrate and promote successes of Partnership externally

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 166 July 2018 Option 2: Charm Bracelet

The Humboldt Box, Berlin, Germany Serpentine Gallery Pavilion Garage Centre for Contemporary Culture Yorkshire Sculpture Triangle Exhibition, Watch Out: Children! Protected. Toyo Ito + Cecil Balmond + Arup, 2002 by Shigeru Ban, Moscow Yorkshire Sculpture Park Loved. Threatened. Humboldt Box, Berlin Herzog & de Meuron and Ai Weiwei, 2012 Henry Moore Institute The Info-Box, Potsdamer Platz, Berlin Asif Khan, 2016

167 Option 3: Visual Arts Family

“Although it will take many years, this is our opportunity to develop a world-class, distinguished set of national visual art galleries.” Gallery Director

“I’m not sure it is a building; I think it could be a group of buildings, a kind of series of buildings across Wales – across spaces that already exist.” Gallery Director

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 168 July 2018 Option 3: Visual Arts Family

Model Description based on size of structure, longevity and Operational components • Community in-reach required to extend A select group of modern and recent capital works (for example, Glynn Leadership and Team audiences beyond those visiting. contemporary visual art and design Vivian’s 2016 extension, by way of example • Lead Director and 3-4 gallery directors; Co-curation with targeted groups. galleries strategically align under one only, does not currently need a new • Each venue remains autonomous in Formal engagement officers required. governing body. physical structure). terms of curatorial direction and has a distinct focus; Commercial Opportunities Each associate site is responsible for its The capital cost for a permanent extension • Shared resource pool across the family • Catering, retail and events personnel own curatorial approach, but there is a is likely to be iro £4,000 per sqm. in marketing, fundraising, membership, required. collective sense that together they are retail, collection development and building: A preliminary budget for a permanent small conservation. Marketing new extension would be £5.8m. This • Emphasis on local, regional, national • a national body of work with a consistent assumes approximately 480sqm public Programme and Exhibition at each venue marketing and international tourism and educational approach; space, 300sqm of temporary gallery space, • Ambitious, strategic, creative and cultural industry. • an ambitious commissioning and approximately 300sqm of collection bespoke curatorial programme; acquisitions programme; storage and associated amenities and • Active planning for how best to access Development • a consistent audience experience, 300sqm BoH space. potential touring market domestically and • Classically diverse fundraising strategy underscored by sophisticated and internationally for temporary exhibitions; – trusts, foundations, individual donations integrated data analysis; A preliminary budget for a permanent • Collaborative curation across venues and corporate sponsorship; • a cohesive and linked online presence; medium extension would be iro £10.5m. where appropriate. • Necessity to quantify and cultivate Welsh • cohesive brand and marketing image This assumes approximately 600sqm diaspora; (or sub-brands); public space, 800sqm of temporary gallery Collections Mobility • There is potential to ensure Amgueddfa • consistently high customer service; space, approximately 600sqm of collection • Minimal logistics internally and low Cymru’s new membership scheme • cohesive and linked retail and catering storage and associated amenities and transport and insurance costs regarding deploys best practice in building offer; 480sqm BoH space. collection movement (i.e. permanent membership community; • an ability to lead a national conversation collection does not need to be de- • There is potential to develop a clear case about contemporary art on any number A preliminary budget for a permanent large installed when a temporary exhibition is for support for the corporate sector of platforms. extension would be iro £16.8m. This shown); given the development of high profile assumes approx. 940sqm public space, • Externally, medium costs associated with infrastructure in a capital city. Each gallery will be branded as part of the 1,300sqm of temporary gallery and collections movement. Medium transport National Contemporary Art Gallery Wales. community space, approximately 950sqm and insurance costs. Building Maintenance of collection storage and associated • Consistent and predictable facilities, Capital Requirement amenities and 830sqm BoH space. Education and Engagement maintenance and security costs in line New permanent capital structure (an • Onsite and online formal and informal with industry averages. extension) to be put in place at each venue learning. A coherent education offer if required; level of investment would vary across all sites;

169 Option 3: Visual Arts Family

Partners • Local authorities; • Welsh Government; • Artes Mundi; • Local cultural and educational partners; • Artists and artist collectives; • Local community groups; • Visual Arts Galleries Wales (VAGW); • Creative clusters; • Higher education; • Corporate Sector; • International peers.

Timescale • 3-5 years.

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 170 July 2018 Option 3: Visual Arts Family

Added Value to Wales

Extends the cultural tourism offer

Expresses confidence in the visual arts and raises its visual arts profile in and out of Wales

Alleviates the Cardiff-centric concerns amongst non-Cardiff-based audiences and organisation

Results in positive economic impact defined by combined supply-chain and induced spending in local area including construction employment and potentially additional visitor spend

Strengths Weaknesses (see risks overleaf)

Ensures national is truly national and geographically dispersed Requires consideration of how this is developed alongside the existing Amgueddfa Cymru brand and family Ensures collection is widely distributed across Wales and unseen collections are made visible Some organisations may feel excluded from public funding opportunities

Aligns with international peers

171 Option 3: Visual Arts Family

Risks Mitigation Likelihood Impact Risk Score of occurring if it occurs (1=low, (1=low, 5=high) 5=high) Visual arts organisations feel excluded from the National Family and any Ensure Family Members are aware that their roles as national entities 5 3 15 related public or private funding opportunities include enabling, facilitating and brokering conversations, collections- sharing and national and international networks for the benefit of all; Develop and communicate clear rationale and criteria for why organisations are designated the national family; Identify programmes, research, exhibitions or knowledge-sharing events that actively include the sector; Ensure sector-wide advocacy for the visual arts integrates coordinated messages from the entire sector Not perceived to be locally relevant as a one-size-fits-all approach Undertake research and facilitate conversations that enable partners to 2 4 8 develop shared aims and interests; Identify unique attributes, audiences and possibilities at each site to position each venue as distinctive Lack of limited visitation to some sites (e.g. rural) Ensure attractive proposition is communicated about each site; Identify 2 5 10 opportunities and incentives to encourage repeat visitors, and encourage visitors to travel across the network; Partner with VisitWales to ensure all venues are actively promoted to domestic and international tourists Takes a long time to establish reputation Communication strategy publicising; High profile annual reports; Nation- 3 5 15 wide symposia; Participate in international programmes; Work closely with national and international press; Build sense of local ownership through engagement with communities and education

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 172 July 2018 Option 3: Visual Arts Family

Tate Modern, London, UK Tate St Ives, St Ives, UK Tate Liverpool, Liverpool, UK Tate Britain, London, UK

173 Option 4: Network Members Club

“Rather than being a sponge that soaks up water, it should be a sponge filled with water that makes the puddle bigger.” Curator and Researcher

“One of the ongoing discussions and debates with those seven national organisations is how they can display a generosity of spirit. What would we have to put in place in the start to ensure this ethos carries through?” Funder

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 174 July 2018 Option 4: Network Members Club

Model Description with product design/fashion students in • For touring exhibitions, joined-up • Opportunity to further develop Defined by thought-leadership and art schools to draw on assets from education programme, relying on locals nationwide members pass – e.g. collaboration, this strategic network takes across the nation and sold at multiple to co-develop and deliver programming collectively joining up with The National the form of a members club for the visual sites online and off; relevant to their constituents. Art Pass (Art Fund) and integrating with arts sector. The network pro-actively seeks • A coordinator will ensure members any hyper-local offer. opportunities to enable and promote benefit from ongoing formal and informal Commercial Opportunities watershed moments in contemporary visual knowledge sharing events, shared • Touring exhibitions internationally will Maintenance arts, and offers a robust and creative services and skills development. raise Welsh profile and may garner • None knowledge-exchange programme. Potentially this could include a nation- a small financial return; wide curatorial and/or artist fellowship, • Potential for innovative retail offer, Partners Capital Requirement or internship programme, where as outlined above; • Grass-roots initiatives; Minimal. participants rotate through the network. • Emphasis on projects and exhibitions • Art schools; that permeate the network across the • Visual arts organisations; Operational components Programme and Exhibition nation – a focus on regional and national • Retail brands; Leadership and Team • Joint exhibitions developed for sharing marketing and domestic/cross-border • Corporate partners; • A director-level Creative Producer will across anchor-sites, and for touring tourism positioning. • International peers; spark ideas, develop projects at anchor internationally. • National and international networks. visual arts venues and facilitate a national Marketing conversation; Collections Mobility • Emphasis on local, regional and national Timescale • A senior manager will deliver sector-wide • Mid-scale logistical requirements. cultural sector. • 6-9 months – recruitment and establish fundraising bids, marketing and PR, Mid-scale transport requirements. High network; research, and advocacy events. Skills insurance costs; Development • 9 months – ongoing delivery. and resource-gap research will identify • Internationally touring will require high- • Sector-wide exhibitions and programming key areas for shared-services (e.g. scale logistical requirements, transport may be a particularly attractive conservation), resulting in shared-service and insurance costs; proposition to funders – public and pool developed for the network; • Does not solve issue at National Museum private – if social impact can be projected, • An exhibitions manager/curator will Cardiff, requiring high-logistical evaluated and learning reapplied to the facilitate shared exhibitions and develop requirements internally to turnover programming. Opportunity to collectively a national/international touring permanent collection for temporary explore the Welsh diaspora market for programme of exhibitions, drawing on the exhibitions. particularly ambitious programmes national collection and anchor venue across the network; collections and ideas; Education and Engagement • Corporate support may viable if clear • A commercial officer will develop • Nation-wide dynamic audience research brand alignment and wide market reach; a compelling nationwide retail offer, informs sector programming and (a visual arts brand for Wales), partnering positioning;

175 Option 4: Network Members Club

Added Value to Wales

Raises the profile of the Welsh visual arts sector by enabling co-working to deliver international touring exhibitions Raises the skill-set of the Welsh visual arts sector and provides access to best-practice and specialist expertise Provides impetus and resource to encourage sector to work together more strategically and ambitiously Helps sustain and develop the visual arts ecology, ensuring existing visual arts leadership is supported and given additional capacity to deliver national and local programmes Bestows confidence in the Welsh visual arts sector, recognising the existing cultural assets in Wales Extensive audience reach and can provide platform for developing thorough market data

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 176 July 2018 Option 4: Network Members Club

Strengths Weaknesses (see risks overleaf)

Long-term potential to have significant impact on Welsh visual arts by raising the skills-set and by Difficult to maintain and ensure all members are benefiting increasing beyond Wales networks Leverages creative clusters and hubs, networks and shared spaces Some organisations may feel left out if they are not a member

Ensures two-way (or more) conversations Presents challenges in maintaining focus on a vision if there are a large number of partners

Encourages local ownership and draws actively on local knowledge Potentially too complex or too hidden to deliver significant impact from a public perspective

Potential for big projects and small meaningful local projects to be delivered as it enables large institutions and smaller organisations to work together Varied partnerships within and outside Wales

Allows for dispersed ownership but ensures single voice represents the visual arts sector. A formalised version of Visual Arts Galleries Wales (VAGW) that advocates and drives change for the sector Flexible enough to change according to evolving contemporary art practice

Potential to sell expertise to others nationally or internationally and as a result be less reliant on public subsidy Potential to pool resources and as a result reduce strains on capacity

177 Option 4: Network Members Club

Risks Mitigation Likelihood Impact Risk Score of occurring if it occurs (1=low, (1=low, 5=high) 5=high) Loss of coherent vision across complex network Recruit artistic leadership with collaborative ethos, strong communication 3 5 15 skills, extensive track record and ambitious vision; Ensure curatorial vision is well communicated and sense of ownership shared widely Develops as a professional members organisation, rather than a visible Develop brand identity that enables all members of the Club to identify as 5 5 25 National Contemporary Arts Gallery Wales such to their audiences; Develop clear strategic aims that include appropriate sector-wide exhibitions or programmes that warrant ambitious marketing campaign. Partner with VisitWales to ensure all members are strategically promoted to domestic and international tourists Easily cancelled if programme does not demonstrate clear successes or Track and measure success of programme – its impact audiences in 4 5 20 impact in short term particular; Celebrate and promote successes of the Club externally Staff see delivering components of the Members Club as an add on to their Build buy-in for the Club at early stage, working closely with all partners to 4 5 20 existing job description, rather than integrated understand if/how this integrates with existing job function and what additional resource would be required; Hold quarterly meetings with sector- wide team with clear agenda to discuss how programming is developing, where there are difficulties and how these can be addressed; Celebrate and promote successes formally and informally – internally and externally The Club exists only in the consciousness of the visual arts professional Identify existing and target audiences and develop consistent 5 5 25 community; There is no differentiating factor for audiences to grasp communications; Develop clear brand identity at early stage; Build appropriate marketing costs into operating model Lack of recognition from the Welsh Government Track and measure success of programme – its impact audiences in 4 5 20 particular; Celebrate and promote successes of the Club externally

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 178 July 2018 Option 4: Network Members Club

PlusTate Network

179 Option 5: National Canvas

“Completely unique, completely site specific, really surprising. Contemporary art should do that. It doesn’t require an architectural space. Artist and curators would be completely galvanised. It would be a new model.” Critic

“A dispersed model is unexpected landscapes. something that people want. I think there could be major It becomes tricky with some tie-ins with any ‘alternative’, works – environmental and ‘virtual’ gallery.” security limitations. While Tourism Director you can’t put a Cezanne in a village hall... you can project “Mimicking the evolving a video installation in a style of artists themselves, viaduct in Ruthin.” Curator the new entity mimics contemporary art practice. “Wales can and should put It involves. It changes. itself on the map! It can start It disappears.” Professor from scratch in 21st century and be really, really fresh.” “National contemporary art Museum Director is all about developing participatory places without “The Wales Way project, an entity. Landscape, shop based on a notion of ‘igam- fronts, houses, housing ogam’ (zig-zagging) [is] associations. Animate old essentially about putting buildings. There are lots of people in outstanding, things you can do.” Museum Director

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 180 July 2018 Option 5: National Canvas

Model Description Capital Requirements Collections Mobility • Potential to draw funds from capital A landscape focused national gallery • Large commissions budget ring-fenced • Mid-scale logistical requirements. investment projects in other sectors comprising ambitious temporary, semi- for first artworks, iro 50-100 artworks Low transport. High insurance costs. (Section 106, place-making and permanent, or permanent artistic across the country. Commissions range public art); commissions across Wales. The in cost between £20,000 to £5m; Education and Engagement: • Corporate sector sponsorship for contemporary art collections are situated • Minimal spend on supportive • Onsite and online formal and informal specific commissions; outdoors or in a range of traditional and infrastructure (e.g. sheltered education learning. • Legacy fundraising; non-traditional or disused spaces. The spaces, retail units, F&B, or viewing areas • Ongoing crowd-funding campaigns. National Canvas would be defined by a adjacent to commissions); Commercial Opportunities: vibrant commissioning model and would • Requirement for signposting across • Potential to develop new forms of Maintenance draw on the Wales Way, three tourist routes Wales (online and/or physically). commercial opportunities (given non- • Security and insurance requirements being promoted to domestic and traditional spatial brief), including pop-up at all sites; international tourists. Operational components restaurants, cafés, street food venues. • Maintenance requirements for outdoor Leadership and Team Potential commissioning agreement with artworks. The National Canvas is a pioneering • Lead Artistic Director and a team of catering and retail; approach to public curating and national, creative producers that initiate and • A commercial officer will develop Partners democratic access to contemporary oversee the programme in their a compelling nationwide retail offer, • Artists and artist collectives; culture. A Curatorial Research Group come geographic clusters; (a visual arts brand for Wales), partnering • Visual arts organisations; together to develop and curate the works. • A Curatorial Research Committee made with product design/fashion students in • Local and regional authorities; Each member submits or commissions a up of the general public, artists and art schools to draw on assets from • VisitWales (champion); single artwork and supports the journey of creatives, works alongside specialists to across the nation and sold at multiple • Food companies; each piece to its location, whether a loan co-curate the exhibition and commission sites online and off. • Corporate partners; item from the national or an international site-specific works; • International peers; collection or a commission developed with • Potential for shared resource pool across Marketing: • Embassies. contemporary artists. The model builds visual arts ecology relying on anchor • Emphasis on local, regional, national upon ideas about authentic community organisations for fundraising, marketing, marketing and international tourism and Timescale engagement explored in a portfolio of conservation. cultural industry; • Year One: Recruitment of curatorial works as part of the Arts Council of Wales’ • Link to Wales Way. leadership and team; establish curatorial Ideas: People: Places programme. Programme and Exhibition research committee; establish key • A significant proportion of the external Development: partnerships; establish marketing and commissions are permanent; those in • Classically diverse fundraising strategy fundraising approaches; develop national disused spaces are temporary; – trusts, foundations, individual donations education programme; launch • Rolling programme of commissions and corporate sponsorship; commissioning programme. added over time; • Year two-four (and ongoing): • Systems for commissions to be acquired Commissions across Wales. by Amgueddfa Cymru.

181 Option 5: National Canvas

Added Value to Wales

Extends the nation’s cultural tourism offer

Disrupts the traditional contemporary art gallery model (white-box space, starchitect designed) while being authentic and using Wales’ best assets Builds a contemporary arts audience within Wales through developing a dialogue and engagement at a local level Provides truly democratic access to the collection and any new commissions for Welsh people, in particular those that do not feel art or galleries is for them Results in indirect economic benefit of visitor day spend and short term job creation

Develops new ways to collect the uncollectable within the national collection

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 182 July 2018 Option 5: National Canvas

Strengths Weaknesses (see risks overleaf)

Highly visible in Wales and provides compelling press and marketing opportunities Too diffuse

Highly innovative. It provides an accessible experience – going beyond the gallery. It extends Relies on Welsh transport infrastructure being state-of-the-art; lack of infrastructure might dictate current curatorial practice and encourages a new education and engagement model location of artworks Focuses on the landscape, which is in keeping with the strengths of Welsh modern and Limits access to those without vehicles contemporary art Positions the landscape as an opportunity rather than a barrier and uses disused buildings Outdoor elements may be perceived to be a limiting factor to provide exciting opportunities for artists to work in. Pushes contemporary visual artists work forward, encouraging them to respond to landscape – While disused buildings could showcase new commissions, these are unlikely to be rather than white box opportunities environmentally-sound Decentralised approach enabling it to be delivered throughout Wales, in different location types – Does not directly address capacity issues raised by sector urban and rural, populated and unpopulated, etc. Provides employment opportunities across Wales

Increases sense of a community and ownership through co-curation and commissioning

Develops national collection through new commissioning, while providing opportunities to display large (often unseen) contemporary works Develops new funding opportunities that break the mould

183 Option 5: National Canvas

Risks Mitigation Likelihood Impact Risk Score of occurring if it occurs (1=low, (1=low, 5=high) 5=high) Loss of curatorial vision across complex programme Recruit artistic leadership with collaborative ethos, strong communication 1 5 5 skills, extensive track record and ambitious vision; Ensure curatorial vision is well communicated and sense of ownership shared widely Lack of high visibility Ensure ambitious roll out of programme, including world-class artist 2 4 8 commissions (Welsh and overseas artists) and online presence; ensure works of art are geographically spread, but accessible; Partner with VisitWales to ensure the programme is strategically promoted to domestic and international tourists Easily cancelled if programme does not demonstrate clear successes or Track and measure success of programme – its impact on audiences, 3 5 15 impact in short term artists, national identity, local economies, nearby attractions (on Wales Way)and associated investment in scheme and press coverage Staff see delivering components of the National Canvas as an add on to Build buy-in for the National Canvas at an early stage, working closely with 3 3 6 their existing job description, rather than integrated all partners to understand if/how this integrates with existing job function and what additional resource would be required; Establishing dedicated team; Hold regular meetings with regional creative clusters with clear agenda to discuss how programming is developing, where there are difficulties and how these can be addressed; Celebrate and promote successes formally and informally – internally and externally

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 184 July 2018 Option 5: National Canvas

Art Everywhere, UK Artangel, London, UK A Current Under Sea: Margate Cultural Olympiad 2012 The Public Space, 2017-18, Beatrice Dillon, Taut Line, Peak Journeys With The Waste Land JocJonJosch, Head to Head Nationalmuseum, Sweden Cavern, Abandon Normal Devices Cy Twombly Four Seasons and Series, Video, 2014 Christo and Jeanne-Claude, Festival, 2017 Henrik Håkansson A Tree Divided Robert Smithson, Spiral Jetty, The Floating Piers Lake, Italy Laura Ford, A&E Monkey USA 2014-16 Doug White, Black Palm Christo and Jeanne Claude, The Gates, Central Park, New York 1979-2005

185 Option 6: Circus

“We dream about putting together an exhibition and touring it across Wales and bringing young curators with us. All of this would feed into the ecosystem.” Curator

“Take that amount of money “Building a relationship with (£2.5m) and spend it on a the community is time program. And engagement.” consuming…it’s a long- Funder game.” Educator

“It doesn’t have to have a “National Theatre Wales is home, it uses art and an interesting model – performing arts and history fleet of foot, collaborative – and culture and science. It’s it builds communities when a peripatetic model, a home- it goes out there. When it grown Welsh model that rolls into town, it’s a boost. promotes and encourages It’s really exciting for the participation and focuses on community.” Funder the Welsh language.” Museum Director

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 186 July 2018 Option 6: Circus

Model Description there is a single mobile unit, however this Education and Engagement Maintenance A physical entity that tours the same could be scaled to include multiple mobile • Non-didactic education philosophy • Low cost but frequent maintenance exhibition from town to town, place to place units which tour Wales simultaneously. through in-situ learning and partnering required. across Wales. It annually or biannually can with ambassadors; return to the same areas building a legacy Operational Components • Core team at source trains ambassadors Other year on year. Leadership and Team at local level to reach local and • Requirement for advanced planning – • Single visionary leader partners with marginalised audiences. Activities and including audience development, Local ambassadors, including artists, guest curators and local creative educational programmes developed marketing and educational programme. educators and social workers generate producers; locally; activities and programmes. These are • Curatorial Touring Team research and • Strong case for a knowledge exchange Partners bespoke to each community and region develop exhibition, graphics and programme, where existing visual arts • ‘Hosts’ and partners identified across and are developed in advance and in interpretation, organise insurance and sector could get involved during the Wales, including existing visual arts partnership with the core team. collections. They are also responsible for lifetime in that area. venues and organisations, local planning and supervising install/de-install authorities and other local groups; Capital Requirements (if in-situ); Commercial Opportunities • Creatives including artists, theatre Capital expenditure could range from • The Curatorial Touring Team are • A commercial officer will develop companies, digital specialists, circus £500,000 – £1m for a small mobile, responsible for cultivating relationships a compelling nationwide retail offer, performers, film companies, etc.; temporary structure, depending on with partners and hosts. (a visual arts brand for Wales), partnering • Potential to piggyback on festivals. materials and ambition. It is assumed that with product design/fashion students in the temporary gallery space is a minimum Programme and Exhibition art schools to draw on assets from Timescale size of 200sqm, alongside minimal public • Semi-permanent touring collection and/ across the nation and sold at multiple Quick lead in time comparatively. and BoH space. The mobile unit could be or constantly refreshed and curated sites online and off. • 1-6 months: develop and design doubled in size, but at this scale, the capital temporary shows that are updated once infrastructure required, build tour expenditure is iro of £2.5m. a year; Marketing schedule, approach hosts and partners, • Potential for sharing resources with the • Marketing is hyper-local, local, clusters, build opportunities for outreach activities, It could include a pop-up display which visual arts sector in fundraising, audience Wales Way and national. marketing plan, evaluation plan for tour, could be packed up easily, with minimal research, marketing and education. plan and submit funding applications for wear and tear, and minimal skilled labour to Development additional funding/sponsorship; install. This would include all AV equipment, Collections Mobility • Diverse fundraising strategy; • 6-18 months: build or organise transport, exhibition setwork and collection so that • Extensive logistical requirements in terms • Potential for innovative corporate development of programme and only set up is necessary. of moving collections. High transport, partnerships. Local authority support collections display, marketing and insurance, security costs. more likely with returning programmes. communications plan and press releases The transport vehicles require air ongoing work with sponsors; suspension and climate control. For the • 18 months: Begin tour, and continue to purpose of this study we are assuming develop next tour.

187 Option 6: Circus

Added Value to Wales

Builds a contemporary arts audience within Wales through developing a dialogue and engagement at a local level Provides truly democratic access to the collection and any new commissions for Welsh people, in particular those that do not feel art or galleries is for them Provides indirect economic benefit of visitor day spend and short term job creation

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 188 July 2018 Option 6: Circus

Strengths Weaknesses (see risks overleaf)

Provides regular, potentially more frequent access to the collection Emphasises programme delivery but doesn’t address lack of organisational capacity at visual arts venues across Wales Enables direct one-to-one engagement with the collection, artists, specialists and thus increases Requires insurance for mobile approach the depth of engagement Starts with the audiences and ideally attracts new ones – given that it goes to the audiences Relies on high-quality infrastructure (road/rail), which is currently lacking

Allows for exhibitions to appear in interesting locations and provides different ways of seeing the Requires capacity to change programmes more frequently collection Offers a transformational experience for artists

Builds excitement and draws audiences to the sites given they are only in one area for a dedicated period i.e. it festivalizes the sites – if they don’t visit now, they might miss it Press interest around circus coming to town which increases local arts and artistic profiles

Authentically involves local artists. Artists can be used as mediators to local community

Potential to leave lasting legacy by encouraging people to go to their local gallery with joint- marketing and public programmes in place Crowd-funding opportunities around programmes, increasing funding and public interest

Could be seen in parallel with other models

189 Option 6: Circus

Risks Mitigation Likelihood Impact Risk Score of occurring if it occurs (1=low, (1=low, 5=high) 5=high) Fails to create long-term legacy, positive social impact or change Ensure initial 3-5 year strategy identifies annual return trips to the same 4 4 16 communities/regions, so legacy builds over time – local groups hosting the circus collaborate and plan for its annual visit; Develop nationwide group of organisers who gather regularly to refine the Circus strategy, route, retail/ catering offer and associated programming; Put in place longitudinal research study to assess impact on audiences, artists, local/national sense of identity, local economies, nearby attractions (on Wales Way)and associated investment in scheme and press coverage; Actively identify opportunities for locals to join the circus or deliver it in situ – including internships/docenting, artist short-term residencies and programmes in local schools. Creatively track the circus’s journey across Wales – video blog, etc. – to ensure it builds anticipation and momentum as it travels Fails to integrate with or leverage programming across visual arts ecology Build buy-in from the visual arts sector at an early stage, identifying a 2 4 8 high-profile, hard-working committee to ensure realistic relationships with local arts venues are brokered; work closely with all partners to define how the Circus programme integrates with their 3-5 year exhibition/ programming strategy, and where there are particular opportunities for leverage (programming, funding, press). Celebrate and promote successes formally and informally – internally and externally Lacks opportunities for long-term conversations with audiences Ensure initial 3-5 year strategy identifies annual return trips to the same 2 5 10 communities/regions, so legacy builds over time – local groups hosting the circus collaborate and plan for its annual visit Seen as didactic, nationally or politically imposed Recruit artistic leadership with collaborative ethos, strong communication 1 4 8 skills, extensive track record and ambitious vision; Consider co-curation opportunities for exhibitions in circus – e.g. What Next? style partnerships that push the definition of curatorial authority in the 21st Century

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 190 July 2018 Option 6: Circus

Ashes and Snow, Nomadic The National Eisteddfod of Wales Adain Avion, Marc Rees, 2012, Artrain, USA National Theatre Wales Museum, Shigeru Ban, 2002, Artists Taking the Lead, Wales Hide At St Donats Pier 54 on the Hudson River, USA BMW Guggenheim Lab Julie’s Bicycle Crouch, Touch, Pause, Engage, Robin Soans, 2015

191 Option 7: Extension

“It would be fantastic. But the second best thing is to look at who is doing what well and support it.” Artist

“There already is a national “Being located at the contemporary art gallery. National Museum… means It is a very successful one. it would capitalise on the It’s the National Museum number of people coming Cardiff.” Museum Director there already and Artes Mundi is based there.” Artist “It doesn’t have to be for showing. It could be a residency for people to use.” Museum Director

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 192 July 2018 Option 7: Extension

Model Description Programme and Exhibition Marketing • Artes Mundi; An extension to the National Museum • Permanent exhibition installed once, with • Emphasis on local, regional, national • Local community groups; Cardiff, designed to showcase modern 5-10% flexibility for annual changeover; marketing and international tourism and • Visual Arts Galleries Wales (VAGW); and contemporary art and design works. • Temporary exhibition installed regularly cultural industry. In particular, • Higher education; The extension houses the permanent (3 large per annum; 4-5 small per annum); requirement to market within larger urban • Corporate sector; display of the national modern and • Of the temporary exhibitions, 1-2 areas in South England, such as London, • Clwstwr Creadigol; contemporary art and design collection designed to tour nationally / Bristol, Swindon and Bath. • International peers. and provides temporary spaces for an internationally. experimental artistic programme and Development Timescale a series of welcoming social spaces. Collections Mobility • Classically diverse fundraising strategy • Year one: Develop a functional brief for • Minimal logistics internally and low – trusts, foundations, individual donations spatial requirements and services; The extension model is defined by a transport and insurance costs regarding and corporate sponsorship; Capital campaign; Evaluate impact on centralised organisation (Amgueddfa collection movement (i.e. permanent • Necessity to quantify and cultivate Welsh organisation; Procure additional skills/ Cymru), but actively partners nationally collection does not need to be de- diaspora; team-members as required; and internationally. installed when a temporary exhibition is • There is potential to ensure Amgueddfa • Year two-four: Design development and shown); Cymru’s new membership scheme build extension, prepare and install Capital Requirement • Externally, medium costs associated with deploys best practice in building collection. Minimum of £20m, but for a new state-of- collections movement. Medium transport membership community; the-art extension, approximate capital cost and insurance costs. • There is potential to develop a clear case likely to be iro £25m with an estimated for support for the corporate sector spend £4,500 per sqm. Education and Engagement given the development of high profile • Onsite and online formal and informal infrastructure in a capital city. It is assumed that this would include learning; 940sqm of public space, alongside some • Community in-reach required to extend Building Maintenance landscaped external areas, 2,500sqm of audiences beyond those visiting. • Consistent and predictable facilities, gallery space (permanent, temporary and Co-curation with targeted groups. maintenance and security costs in line community gallery spaces), 650sqm Formal engagement officers required. with industry averages. exhibition storage space and 1,050 sqm BoH space. Commercial Opportunities Partners • Catering, retail, events, hire personnel • Cardiff Council (site identification, Operational Components required; assistance with delivery, planning Leadership and Team • Limited potential for shared resource process, integration with existing • Centralised management. A single pool across visual arts ecology. infrastructure, brokering partnerships, visionary. In-house and guest curators. However, can draw on existing expertise financial contribution to capital and likely in contemporary art and design already ongoing revenue support); employed at Amgueddfa Cymru.

193 Option 7: Extension

Added Value

Extends the capital’s cultural tourism offer

Benefits visual arts sector in Cardiff by increasing visibility of the visual arts in the city

Builds on the Clwstwr Creadigol (1 of 22 shortlisted) and contributes to the growth of the creative economy (Cardiff is 1 of top 10 creative cities) Catalyses Amgueddfa Cymru to deliver a Masterplan and make decision about which collections will remain at the National Museum Cardiff Provides positive economic impact through supply-chain and induced spending in local area including job creation, construction employment and additional visitor spend (potentially overnight spend)

Strengths Weaknesses (see risks overleaf)

Maintains and invigorates the Amgueddfa Cymru brand Places all investment in the Amgueddfa Cymru, while others in the visual arts sector do not benefit directly Potentially draws national and international tourists to Cardiff Limits democratic access to the collection, given the Cardiff-focus

Potentially increases footfall and broadens audiences to the National Museum Cardiff site Likely limits pool of visitors from cross-border North Wales

Draws upon existing resources (like education teams), while requiring additional expertise

Provides a platform for cross-disciplinary collections and displays, given the wealth of multi- disciplinary collections at the National Museum Cardiff site Provides greater access to more of the contemporary art collection

Ensures that when Artes Mundi is on view, the permanent collection of contemporary art can also remain on view – allowing for more dialogue between collections, and greater access for audiences who visit specifically for Artes Mundi Could be seen in parallel with other models

Existing proof of growing market in contemporary arts and of visits in the region of 500,000 per annum would suggest this is a stable offer Sufficient regular temporary space enables exhibitions always to be on display to ensure no dark weeks

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 194 July 2018 Option 7: Extension

Risks Mitigation Likelihood Impact Risk Score of occurring if it occurs (1=low, (1=low, 5=high) 5=high) Results in perception that there is insufficient change in the sector Draw on existing collaborative ethos of the Amgueddfa Cymru curation/ 5 5 25 collections teams to jointly develop vision for the extension that draws on national and international expertise in contemporary visual arts; Identify tangible ways in which the sector could co-deliver aspects of the programme to ensure it is national; Consider rolling out other models identified in advance of building extension that focus on collaborative, ambitious exhibitions/collections development across Wales Centralises the Amgueddfa Cymru and limits impact on all of Wales Ensure programme is national in scope – in terms of how it is developed 5 5 25 and delivered; Track success of extension and measure its impact on Wales – e.g. Cultural tourism research; awareness of Wales overseas, etc. Ensure extension is authentic to Wales Becomes too closed and insular – no longer requires Artes Mundi to As above, draw on existing collaborative ethos of the Amgueddfa Cymru 3 5 15 partner with other venues curation/collections teams to jointly develop vision for the extension that draws on national and international expertise in contemporary visual arts; Identify tangible ways in which the sector could co-deliver aspects of the programme to ensure it is national Requires significant revenue-funding Build a realistic and conservative business model that clearly identifies at 3 5 15 the feasibility stage what the revenue-requirement will be. Undertake fundraising feasibility study, including testing endowment strategy, to ascertain how realistic the projections are and to understand how the commitment will be met for next 50+ years Lacks buy-in from the sector Ensure Amgueddfa Cymru team define their remit as a national 4 4 16 contemporary arts entity that enables, facilitates, brokers conversations, collections-sharing, exhibitions and national and international networks for the benefit of all; Develop and communicate clear rationale for delivering extension-model; Share successes; Ensure Amgueddfa Cymru staff are resourced to deliver a national model both on and off-site

195 Option 7: Extension

Risks Mitigation Likelihood Impact Risk Score of occurring if it occurs (1=low, (1=low, 5=high) 5=high) Focuses on raising money rather than changing the sector Have absolute clarity on how the extension model can positively lift the 3 4 12 entire visual arts sector; identify, cultivate and collaborate with funders that are able to support a truly national approach across Wales Fails to innovate or invigorate the visual arts sector as a whole Identify tangible ways in which the sector could co-deliver aspects of the 3 5 15 programme to ensure it is national; Recruit a national board/entity of high-profile individuals with a track record for catalysing compelling change both in the visual arts and in any other industry Potential delays could impact Amgueddfa Cymru visitation Ensure clear off-site programme is in place, drawing on cultural and 2 4 8 community assets across Cardiff and the region; ensure these platforms are still used after the extension opens

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 196 July 2018 Option 7: Extension

Extension at Tate St Ives, UK Hamburger Kunsthalle, Hamburg, Germany Fondazione Prada, Milan, Italy Palais de Tokyo, Paris, France

197 Option 8: Outpost in the Capital

“From me, just if we are going to do it, it has to be iconic to attract visitors, no half measures.” Tourism Director

“Wales also deserves a truly “A building is hierarchical, iconic creative/cultural a very masculine ideal. establishment that defines It’s monolithic. Come on and redefines our place in a journey to us.” the world. This would [Male] Professor obviously start with the content/art itself.” Tourism Director

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 198 July 2018 Option 8: Outpost in the Capital

Model Description • Limited potential for shared resource Commercial Opportunities Partners A sister gallery to the Amgueddfa Cymru, pool across visual arts ecology. However, • Catering, retail, events, hire personnel • Cardiff Council (site identification, this National Contemporary Art Gallery can draw on existing expertise in required. assistance with delivery, planning Wales provides ample space for the display contemporary art and design already process, integration with existing of ambitious contemporary art within employed at Amgueddfa Cymru. Marketing infrastructure, brokering partnerships, Cardiff. • Emphasis on local, regional, national financial contribution to capital and likely Programme and Exhibition marketing and international tourism and ongoing revenue support); This model’s architectural requirements are • Permanent exhibition installed once, with cultural industry. In particular, • Government; established from scratch, resulting in a 5-10% flexibility for annual changeover; requirement to market within larger urban • Artes Mundi; completely fit for purpose centre. Within • Temporary exhibition installed regularly areas in South England, such as London, • Neighbouring facilities; this new space there is dedicated (3 large per annum; 4-5 small per annum); Bristol, Swindon and Bath. • Local cultural and educational partners permanent, temporary and community • Of the temporary exhibitions, in Cardiff; gallery spaces, collection and exhibition 1-2 designed to tour nationally / Development • Local community groups; storage spaces, public spaces including internationally. • Classically diverse fundraising strategy • Visual Arts Galleries Wales (VAGW); learning, F&B and retail spaces and BoH. – trusts, foundations, individual donations • Higher education; Collections Mobility and corporate sponsorship; • Creative Cardiff/Cardiff University/ Capital requirements • Minimal logistics internally and low • Necessity to quantify and cultivate Welsh Clwstwr Creadigol; An iconic new build would cost iro £50m. transport and insurance costs regarding diaspora. There is potential to ensure • Corporate Sector; This assumes £5,000 per sqm and collection movement (i.e. permanent Amgueddfa Cymru’s new membership • International peers; approximate GFA of 10,500sqm. However collection does not need to be de- scheme deploys best practice in building • BBC. the capital cost could be as much as installed when a temporary exhibition is membership community; £7,000 per sqm for a signature architect, shown); • There is potential to develop a clear case Timescale iro £75.5m for something of the same • Externally, medium costs associated with for support for the corporate sector • 3-7 years. scale. collections movement. Medium transport given the development of high profile and insurance costs. infrastructure in a capital city. For a more functional build cost iro 4,000 per sqm the preliminary budget would be Education and Engagement Building Maintenance approx. £42m. • Onsite and online formal and informal • Consistent and predictable facilities, learning; maintenance and security costs in line Operational components • Community “in-reach” required to extend with industry averages. Leadership and Team audiences beyond those visiting. • Centralised management. A single Co-curation with targeted groups. visionary leader. In-house and guest Formal engagement officers required. curators;

199 Option 8: Outpost in the Capital

Added Value to Wales

Extends the capital’s cultural tourism offer

Benefits visual arts sector in Cardiff by increasing visibility of the visual arts in the city

Builds on the Clwstwr Creadigol (1 of 22 shortlisted) and contributes to the growth of the creative economy (Cardiff is 1 of top 10 creative cities) Contributes to Cardiff’s Economic Plan

Provides positive economic impact through combined supply-chain and induced spending in local area including job creation, construction employment and additional visitor spend

Strengths Weaknesses (see risks overleaf)

Delivers a fit-for-purpose building with high-quality design. It is not limited by the existing National Potentially limits impact for all of Wales Museum Cardiff site or infrastructure Provides new identity in locality While potentially benefiting from a high-profile opening, potentially difficult to sustain funding, profile and momentum Provides regeneration opportunity for an area Places all investment in the Amgueddfa Cymru, while others in the visual arts sector do not benefit directly Potential for attracting new audiences depending on location

Focuses on modern and contemporary visual art, giving Amgueddfa Cymru a new platform for this discipline and enabling space to be freed up in the National Museum Cardiff Affords short-term press opportunities

Potential to provide area regeneration if done correctly, strategically, coherently, kindly

Sufficient regular temporary space enables exhibitions always to be on display to ensure no dark weeks

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 200 July 2018 Option 8: Outpost in the Capital

Risks Mitigation Likelihood Impact Risk Score of occurring if it occurs (1=low, (1=low, 5=high) 5=high) Creates increased competition with existing visual arts and cultural offer in Draw on existing collaborative ethos of the Amgueddfa Cymru curation/ 5 5 25 Wales, and Cardiff, and the region, specifically collections teams to jointly develop vision for the extension that draws on local, regional national and international expertise in contemporary visual arts; Identify tangible ways in which the sector could co-deliver aspects of the programme to ensure it draws on existing cultural/creative/HEI assets in Cardiff-region (and nationally) Atrophies the core offer and reduced visitation at the National Museum Develop clear plan for connecting sites through programming, exhibitions, 4 4 16 Cardiff (Tate Modern/Tate Britain effect) education and marketing; Draw on collections at the National Museum Cardiff to showcase interdisciplinary exhibitions; Partner with local authority to ensure place-making and routes to both venues (and wider offer in Cardiff) are clear Lengthy negotiation Develop collaborative partnership with all stakeholders at early stage, 2 4 8 being transparent about anticipated barriers, risks and challenges and how these can be collectively addressed; Seek to understand developers and local authority’s ambitions and how these connect to the out-post model, and what aspects of the outpost’s ambitions are non-negotiable, critical- success factors. Consider collectively how these can be achieved. Ensure clear off-site programme is in place, drawing on cultural and community assets across Cardiff and the region; ensure these platforms are still used after the outpost opens Seen as un-innovative – simply copying every other visual arts gallery in the Ensure the design, place-making and content is Wales-specific; ensure any 4 4 16 world architectural competition focuses on this authenticity and the requirement that the gallery evoke a national, collaborative, transparent and open spirit in its physical design

201 Option 8: Outpost in the Capital

Risks Mitigation Likelihood Impact Risk Score of occurring if it occurs (1=low, (1=low, 5=high) 5=high) Fails to innovate or invigorate the visual arts sector as a whole Identify tangible ways in which the sector could co-deliver aspects of the 4 5 20 programme to ensure it is national; Recruit a national board/entity of high-profile individuals with a track record for catalysing compelling change both in the visual arts and in any other industry. Consider rolling out other models identified in advance of opening that focus on collaborative, ambitious exhibitions/collections development across Wales Potential delays could impact Amgueddfa Cymru visitation Ensure clear off-site programme is in place, drawing on cultural and 3 4 12 community assets across Cardiff and the region; ensure these platforms are still used after the outpost opens

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 202 July 2018 Option 8: Outpost in the Capital

V&A, London, UK IMMA, Dublin Proposals for the V&A East, Sadler’s Wells The National Gallery of Ireland, Dublin theatre, London College of Fashion and University College London on the Queen Elizabeth Olympic Park, London, UK

Scottish National Gallery of Modern Art, Edinburgh Scottish National Gallery, Edinburgh Scottish National Portrait Gallery, Edinburgh

203 Option 9: Outpost Outside of the Capital

“There is a strong feeling in mid and north Wales that everything goes to Cardiff. There is an opportunity here to consider a solution to the location of a national gallery which is somewhat more devolved and capable of engaging audiences in the mid and west of the country through collaboration.” Gallery Director

“We [cultural tourists] will go It is a very common pattern. anywhere if there’s People are not going to something to see. If it feels travel to Wales to see like going to Tate Modern, another Turner going to Baltic, it if feels like Contemporary-type thing, going to any vast number which is showing artists of former industrial spaces you’ve already see coming out of their everywhere else.” Critic obsolescence as a white- cube space, then I’m reluctant to go there.

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 204 July 2018 Option 9: Outpost Outside of the Capital

Model Description Programme and Exhibition Marketing • Higher education; A sister gallery to the National Museum • Permanent exhibition installed once, with • Emphasis on local, regional, national • Corporate sector; Cardiff, this National Contemporary Art 5-10% flexibility for annual changeover; marketing and international tourism and • International peers. Gallery Wales provides ample space for the • Temporary exhibition installed regularly cultural industry. display of ambitious contemporary art (3 large per annum; 4-5 small per annum); Timescale outside of the capital. • Of the temporary exhibitions, Development • 3-7 years. 1-2 designed to tour nationally / • Classically diverse fundraising strategy Allows for architectural requirements to be internationally. – trusts, foundations, individual donations established from scratch and completely fit and corporate sponsorship; for purpose. This could be located in a rural Collections Mobility • Necessity to quantify and cultivate Welsh or urban area. • On set-up significant logistical diaspora. There is potential to ensure requirements; Amgueddfa Cymru’s new membership Capital requirements • On-going mid-scale costs associated scheme deploys best practice in building An iconic new build would cost iro £50m. with mobilising collection (i.e. permanent membership community. This assumes £5,000 per sqm and collection does not need to be de- approximate GFA of 10,500sqm. installed when a temporary exhibition is Building Maintenance shown, however national collection needs • Consistent and predictable facilities, For a more functional build cost iro 4,000 to be transported beyond Cardiff); maintenance and security costs in line per sqm the preliminary budget would be • Externally, medium costs associated with with industry averages. approx. £42m. collections movement. Medium transport and insurance costs. Partners Operational components • Local authority (site identification, Leadership and Team Education and Engagement assistance with delivery, planning • Centralised management but with greater • Onsite and online formal and informal process, integration with existing flexibility and independence. A single learning; infrastructure, brokering partnerships, visionary leader. In-house and guest • Community in-reach required to extend financial contribution to capital and likely curators; audiences beyond those visiting. ongoing revenue support); • Limited potential for shared resource Co-curation with targeted groups. • Government; pool across visual arts ecology. However, Formal engagement officers required. • Artes Mundi; can draw on existing expertise in • Neighbouring facilities; contemporary art and design already Commercial Opportunities • Local cultural and educational partners; employed at Amgueddfa Cymru. • Catering, retail, events, hire personnel • Local community groups; required. • Visual Arts Galleries Wales (VAGW);

205 Option 9: Outpost Outside of the Capital

Added Value to Wales

Extends the cultural tourism offer, particularly if located on the Wales Way

Expresses confidence in the visual arts and raises its visual arts profile in and out of Wales

Alleviates the Cardiff-centric concerns amongst non-Cardiff-based audiences and organisations

Potential catalyst for regeneration outside of the capital

Provides a positive economic impact through combined supply-chain and induced spending in local area including job creation, construction employment and additional visitor spend

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 206 July 2018 Option 9: Outpost Outside of the Capital

Strengths Weaknesses (see risks overleaf)

Delivers a fit-for-purpose building with high-quality design. It is not limited by the existing National Potentially limits impact for all of Wales Museum Cardiff site or infrastructure Provides new identity in locality While potentially benefiting from a high-profile opening, potentially difficult to sustain funding, profile and momentum Potential for attracting new audiences depending on location Places all investment in the Amgueddfa Cymru, while others in the visual arts sector do not benefit directly Focuses on modern and contemporary visual art, giving Amgueddfa Cymru a new platform for this discipline and enabling space to be freed up in the National Museum Cardiff Affords short-term press opportunities

207 Option 9: Outpost Outside of the Capital

Risks Mitigation Likelihood of Impact if it Risk Score occurring occurs (1=low, (1=low, 5=high) 5=high) Creates increased competition with existing visual arts and cultural offer Draw on existing collaborative ethos of the Amgueddfa Cymru curation/ 5 5 25 in Wales collections teams to jointly develop vision for the extension that draws on local, regional national and international expertise in contemporary visual arts; Identify tangible ways in which the sector could co-deliver aspects of the programme to ensure it draws on existing cultural/creative/HEI assets in identified region Lengthy negotiation Develop collaborative partnership with all stakeholders at early stage, 2 4 8 being transparent about anticipated barriers, risks and challenges and how these can be collectively addressed; Seek to understand developers and local authority’s ambitions and how these connect to the out-post model, and what aspects of the outpost’s ambitions are non-negotiable, critical-success factors. Consider collectively how these can be achieved. Ensure clear off-site programme is in place, drawing on cultural and community; ensure these platforms are still used creatively after gallery is open. Seen as un-innovative – simply copying every other visual arts gallery Ensure the design, place-making and content is Wales-specific; ensure 3 3 9 in the world any architectural competition focuses on this authenticity and the requirement that the gallery evoke a national, collaborative, transparent and open spirit in its physical design. Consider rolling out other models identified in advance of opening that focus on collaborative, ambitious exhibitions/collections development across Wales

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 208 July 2018 Option 9: Outpost Outside of the Capital

Hauser & Wirth, London, UK Louvre, Paris, France Newlyn Art Gallery, Newlyn, UK The Getty Center, LA, USA Hauser & Wirth, Somerset, UK Louvre Lens, France The Exchange, Penzance, UK The Getty Villa Malibu, USA

209 Option 10: Hive / Co-Location

“We need an innovative mixed model with production space alongside traditional galleries – art has moved on.” Funder

“I think a hive is an interesting model, where there are activities that connect and interact in different ways.” Museum Director

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 210 July 2018 Option 10: Hive / Co-Location

Model Description • A platform for thought-leadership, R&D, Education and Engagement • There is potential to ensure Amgueddfa This is a vibrant mixed-used venue and knowledge exchange and skills • Onsite and online formal and informal Cymru’s new membership scheme creative hub, with multiple affiliates development; learning; deploys best practice in building co-located on a single site. Affiliates have • Resources, specialist expertise and • Community “in-reach” required to extend membership community. opportunities to collaborate and interact general support services (marketing, audiences beyond those visiting. as much as work independently. It is a fundraising, infrastructure) are shared Co-curation with targeted groups. Building Maintenance manifestation of the cultural supply-chain within the hive. Formal / informal engagement officers • Consistent and predictable facilities, under one roof from training and required; maintenance and security costs in line production to cultural consumption and Programme and Exhibition • Opportunity for art school to be located with industry averages. showcasing. • Permanent exhibition installed once, with in situ and for close collaboration with 5-10% flexibility for annual changeover; higher education (as at Science Gallery, Partners The hive curates a portfolio of like-minded • Temporary exhibition installed regularly Trinity College Dublin; • Local authority (site identification, or complementary organisations including (3 large per annum); • Opportunities for artist in residence. assistance with delivery, planning creative organisations, artist and makers • Of the temporary exhibitions, process, integration with existing studios, creative tech, creative 1-2 designed to tour nationally / Commercial Opportunities infrastructure, brokering partnerships, entrepreneurs, social enterprises. internationally; • Catering, retail, events, hire personnel financial contribution to capital and likely • Small temporary exhibitions developed in required; ongoing revenue support); Capital Requirements coordination with affiliates and network • A commercial officer that brokers • Welsh Government; This could be an existing building (including partners. This include creatives, relationships with all tenants. • Artes Mundi; National Museum Cardiff), refurbishment universities and social enterprises. • Neighbouring facilities; or a new build. Potential for 4-6 small per annum. Marketing • Local cultural and educational partners; • Emphasis on local, regional and national • Local community groups; The capital expenditure ranges from iro Collections Mobility marketing. • Visual Arts Galleries Wales (VAGW); £25m for a refurbishment of an existing site • On-going mid-scale costs associated • Higher education; to as much as £80m for a large mixed-use with mobilising collection (i.e. permanent Development • Corporate sector; development. collection does not need to be de- • Classically diverse fundraising strategy • International peers; installed when a temporary exhibition is – trusts, foundations, individual donations • Social and creative enterprises; Operational Components shown, however the national collection and corporate sponsorship; • Artists; Leadership and Team needs to be transported within or • Potential to catalyse and attract investors • Start-ups; • Centralised management but tenants are beyond Cardiff); interested in social impact and creative • Commercial galleries; autonomous entities; • Externally, medium costs associated with enterprise, particularly those with • Retail spaces; • A single visionary leader. In-house and collections movement. Medium transport high-skilled growth opportunity; • F&B. guest curators and creatives; and insurance costs. • Necessity to quantify and cultivate Welsh • Experienced coordinator (hive manager) diaspora; Timescale charged with encouraging networking, • 3-7 years. joint projects and exchanges;

211 Option 10: Hive / Co-Location

Added Value to Wales

Delivers an unorthodox model for a national institution (co-located models are increasingly common, but not necessarily within heritage institutions) Shows forward-thinking, recognition of the power of collaborative creative industries to bolster the economy Echoes cross-disciplinary education in schools and universities

Addresses and bolsters the visual arts ecology in Wales (education, art schools, commercial art market, artist and curatorial professional development) Showcases the cultural supply chain under one roof so can visibly pinpoint areas of innovation and skills gaps Provides positive economic impact through combined supply-chain and induced spending in local area including job creation, construction employment and additional visitor spend Cultivate local creative businesses and encourage them to give back to the community through local mentorship, training and fundraising

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 212 July 2018 Option 10: Hive / Co-Location

Strengths Weaknesses (see risks overleaf)

Encourages co-working and collaboration between all tenants and as a result the opportunity for Centralised offer at a single site more interdisciplinary thinking and working Showcases the whole cultural supply-chain under one roof Lacks democratic access to collections across Wales

Appeals to audiences as it has a 24/7 feel and adds to vitality of the area Requirement to get and keep the tenant spaces leased continually

Potentially aids the arts ecology (education, art school, artist career development, ‘Ghettoises’ culture under one roof collection building) Revitalises an existing site with additional functions

Enables new opportunities, particularly for emerging artists and mid-career artists

Provides opportunities for shared income generation

Provides opportunities for shared resources, and expertise such as marketing, fundraising, education, conservation Provides flexible spaces which can dynamically change organically over time

213 Option 10: Hive / Co-Location

Risks Mitigation Likelihood Impact Risk Score of occurring if it occurs (1=low, (1=low, 5=high) 5=high) Lacks clear identity Develop clear vision and brand identity from outset; Use diverse portfolio of 1 4 4 tenants as asset; Consider how best to differentiate (and communicate that differentiation) from vast number of co-location spaces opened/opening – leveraging role and position as a national venue – including visual arts happenings, performances, etc. Too many separate agendas may result in inability to make clear decisions Ensure collaborative creative leader is in place; Consider how separate 2 4 8 agendas are an asset, and which components of the agenda must be shared in order to be a success Not-national Ensure the design, place-making and content is Wales-specific; ensure any 4 4 16 architectural competition for a new space focuses on this authenticity and the requirement that the hive evoke a national, open spirit; Consider how aspects of the hive could be rolled out at other venues – off-site/ franchises/symposia/partnerships – and how they connect back in to the central hive, and critically – how the central hive connects outward. Consider international partnerships with other world-class hives (e.g. Somerset House) and how hive organisations can connect to one another Surplus of spaces that are not renting quickly Ensure attractive proposition for all partners; Ensure lease agreements 3 5 15 in place early in development process; Identify ideal composition of visual arts and non-visual arts portfolio (e.g. SMEs, social enterprises, tech companies)

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 214 July 2018 Option 10: Hive / Co-Location

Toronto Distillery, Toronto, Andreas Hudelmayer, Maker Winzavod, Moscow, Russia Chapter, Cardiff, Wales Strelka, Moscow, Russia Canada Studio, Peckham Levels, UK Gallery, Chapter, Cardiff, Wales Snape Maltings, Aldeburgh, UK F&B space, Peckham Levels, UK Somerset House Exchange The Alliance Centre, Denver, USA Science Gallery, Trinity College Dublin, Ireland

215 Option 11: Merger

“More and more, we’re all going to survive by working together.” Gallery Director

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 216 July 2018 Option 11: Merger

Model Description Operational Components Added Value to Wales There may be an opportunity for two or These are specific to and dependent on To be determined more complementary and relatively equal the institutions that merge. organisations operating in the cultural and visual arts sector to merge formally (rather Timescale than simply partner) to jointly deliver a • 3-7 years. Strengths Weaknesses (see risks national entity of contemporary art. overleaf)

Potential to improve long-term shareholder value and overall Potential loss of identity and This model is therefore best characterised company performance heritage as an operating option that could be considered at the next stage. It is worth Provides shared resource, assets and capabilities result in Potential staff redundancies considering here given that in the cultural reduced costs, as well as combining skill-sets sector (as with all sectors) mergers are Offers refreshed branding opportunities Brand dilution often raised as an option, particularly in There is potential to build/combine audiences Potential for infighting times of limited or limiting resources, but Limits competition for funds, talent and audiences Mismatch in audiences are not fail safe (as shown by Scottish Increases press opportunities Potential need to compromise Ballet and Scottish National Opera 1999- 2000). Increases governance pool Potential institutional exhaustion Capital Requirement Provides backroom savings (for example, trimming marketing, This is highly dependent on the operations cost of materials) created through the merger can be reinvested of the institutions that merge. If housed in elsewhere a building this could be an existing site, A merger and move to a purpose-built space has the potential to refurbishment, an extension or a new build. boost a company’s national and international reputation Multiple established institutions have the potential to be a The capital expenditure ranges from iro magnet for other creative practices and entrepreneurs £25m to as much as £80m for a large mixed-use development.

217 Option 11: Merger

Risks Mitigation Likelihood Impact Risk Score of occurring if it occurs (1=low, (1=low, 5=high) 5=high) Loss of loyal audiences or stakeholders Undertake audience and stakeholder mapping at outset; identify overlap 5 5 25 between organisations; develop bespoke communications strategy for each stakeholder group; identify ways in which audiences can join in the merger journey Failure, with considerable resources, energy and ideas funnelled into Ensure honesty and clarity in early discussions about a merger – what the 4 5 20 a merger that is never realised successfully risks are, and how these are going to be mitigated; what the resource is required and how the organisation will need to be restructured; and positively develop a vision resulting from the merger that draws on strengths of both organisations. Actively revisit the risk assessment regularly as a team Reduces individual organisational impact Identify which aspects of the organisation’s impact are critical to retaining 3 4 12 and consider how to build these into the strategy Over-stretches resources Ensure the business model is pragmatic and clearly identifies required 3 5 15 resource; test business model at feasibility stages to ensure it is robust

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 218 July 2018 Option 11: Merger

Jeu de Paume, France

HOME, Manchester, UK MAS, Antwerp, Belgium Milwaukee Art Museum, USA

219 Option 12: Do Nothing

“I am concerned that this is not the right time. A new physical presence in a fragile ecosystem could be devastating. There is already so much dynamic activity in Wales, why build something new?” Museum Director

“The capital agenda for the government is pretty crowded at the moment.” Funder

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 220 July 2018 Option 12: Do Nothing

Model Description The Amgueddfa Cymru and visual arts sector continue as usual with no investment in or further development of a national entity of contemporary arts at this time.

This is not to say another action could not be taken. Instead it questions whether now is the right time for a new national entity, given the limited opportunities around and cuts to funding and political environment.

221 Option 12: Do Nothing

Added Value to Wales

Provides an opportunity for stakeholder organisations to clarify their role, ambitions and relationships for any future development

Strengths Weaknesses

Offers opportunity for the visual arts sector to consider a more strategic advocacy role (e.g. Missed opportunities to inspire the next generation of artists, curators and audiences through Visual Arts Galleries Wales (VAGW)) and to proactively identify and address the sector’s collective needs and ambitions (for example, through audience research) Additional financial resource allocated for the feasibility study could be put toward further Further exacerbates consulting fatigue. The four-month consulting process results in little action, strengthening and/or promoting existing visual arts ecosystem which confirms existing attitudes Gives refreshed opportunity to focus on key strategic relationships, between organisations such Missed opportunity to leapfrog cultural infrastructure investment trends around the world and as VisitWales, Arts Council of Wales and MALD deliver an authentic and ambitious new experience for Wales Presents no threat of destabilising existing offer (at least not as a direct result of a National Fails to collectively build cultural tourism marketing Contemporary Art Gallery Wales) Avoids failure Loses designated funding. It is not ring-fenced for the visual arts and will be reallocated

Provides opportunity to increase potential funds from government

Provides opportunity to review the collection fund and collecting priorities

Provides opportunity to review and strengthen partnerships between institutions

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 222 July 2018 Option 12: Do Nothing

Risks Mitigation Likelihood Impact Risk Score of occurring if it occurs (1=low, (1=low, 5=high) 5=high) Visual arts further destabilised – not least by consulting fatigue Identify outcomes of this consulting process that can be used to develop 4 5 20 the sector; Encourage MALD, ACW, Amgueddfa Cymru, Visit Wales, Visual Arts Galleries Wales (VAGW) and others outside of those entities to consider findings and recommendations from this study and what could be put in place to address sector challenges.

Ensure study findings are shared with sector, and particularly those that have given of their time and insights in the consulting process – to enable them to identify how their own strategies could address or further build on the shared ambition identified in the process. Lost funding opportunity Encourage sector to prepare proposal for how any funding that had been 5 5 25 set aside for a national entity could be reallocated in an ambitious way without delivering a National Contemporary Art Gallery Wales

223 Options: Indicative Capital Costs

Build Type Public Non-Collection Public Collection (sqm) (sqm)

External Entrance Social Spaces Amenities Learning Permanent Temporary Community

Iconic New Build 800 600 400 220 480 2000 1200 500 Signature Architect PNC Total: 2500 PC Total: 3700 Mid-range PNC Total: 2500 PC Total: 3700 Functional Build PNC Total: 2500 PC Total: 3700 New Extension – Cathays Park Site 300 200 200 120 120 1200 1200 100 Functional Build PNC Total: 940 PC Total: 2500 Large New Extension – Distributed Site 300 200 200 100 120 0 1200 100 Mid-range PNC Total: 920 PC Total: 1300 Medium New Extension – Distributed Site 200 200 60 60 80 800 Mid-range PNC Total: 600 PC Total: 800 Small New Extension – Distributed Site 200 100 60 60 60 0 300 0 Mid-range PNC Total: 480 PC Total: 300 Large Refurb – Distributed Site 0 0 0 0 0 0 1200 0 Mid-range PNC Total: 0 PC Total: 1200 Medium Refurb – Distributed Site 0 0 0 0 0 0 800 0 Mid-range PNC Total: 0 PC Total: 800 Small Refurb – Distributed Site 0 0 0 0 0 0 300 0 Mid-range PNC Total: 0 PC Total: 300 Large Moving Temporary Structure 40 40 40 20 60 0 300 0 Mid-range PNC Total: 200 PC Total: 300 Small Moving Temporary Structure 40 25 20 0 200 0 Mid-range PNC Total: 85 PC Total: 200

Figure 54: Preliminary capital costs for contemporary art gallery based on current sqm rates (in line with international benchmarks).

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 224 July 2018 Options: Indicative Capital Costs

Non-Public Collection Non-Public Non-Collection NFA Total 5% GFA Total Cost pm2 Preliminary Budget (sqm) (sqm) (sqm) (£) (£)

Collection Conservation Exhibition Transit Offices Technical Kitchens / Retail Plant Storage Storage Store etc.

1000 250 300 250 200 300 300 1200 NPC Total: 1800 NPNC Total: 2000 10000 500 10500 £7,000 £73,500,000 NPC Total: 1800 NPNC Total: 2000 10000 500 10500 £5,000 £52,500,000 NPC Total: 1800 NPNC Total: 2000 10000 500 10500 £4,000 £42,000,000 0 0 400 250 150 100 200 600 NPC Total: 650 NPNC Total: 1050 5140 257 5397 £4,500 £24,286,500 300 0 400 250 80 100 200 450 NPC Total: 950 NPNC Total: 830 4000 200 4200 £4,000 £16,800,000 200 0 200 200 40 60 80 300 NPC Total: 600 NPNC Total: 480 2480 124 2604 £4,000 £10,416,000 100 0 100 100 20 40 40 200 NPC Total: 300 NPNC Total: 300 1380 69 1449 £4,000 £5,796,000 0 0 400 0 10 30 0 20 NPC Total: 400 NPNC Total: 60 1660 83 1743 £4,000 £6,972,000 0 0 200 0 10 30 0 20 NPC Total: 200 NPNC Total: 60 1060 53 1113 £4,000 £4,452,000 0 0 100 0 10 30 0 20 NPC Total: 100 NPNC Total: 60 460 23 483 £4,000 £1,932,000 0 0 40 0 10 10 40 20 NPC Total: 40 NPNC Total: 80 620 31 651 £3,500 £2,278,500 0 0 0 0 10 10 0 20 NPC Total: 0 NPNC Total: 40 325 0 325 £3,000 £975,000

225 Palais de Tokyo, Paris Source: Event, December 2017 Appendix 7: Vision and Mission Examples Appendix 7: Vision and Mission Examples

Arts Organisation Description Vision Mission National Galleries (Historic, Modern and Contemporary) Amgueddfa Cymru Amgueddfa Cymru – National Museum Wales is committed to Inspiring People, Changing Lives In 2015, Amgueddfa Cymru developed a new and far- – National Museum supporting cultural democracy and cultural rights, and is now reaching ten year Vision: to be an organisation that is Wales an acknowledged leader in the museum sector in the UK in Inspiring people, Changing lives. This Vision reflects an co-production and engagement with third sector aspiration to root our work in Welsh cultural and intellectual organisations and street level charities. It has been a traditions and to develop a new paradigm for national multi-site National Museum under the Amgueddfa Cymru museums across the world. brand since 1948, when St Fagans opened as Amgueddfa Werin Cymru. The seven Museums in the group offer multiple Our purpose, in support of this Vision, is to inspire people perspectives of the art, design, technology, natural sciences through our museums and collections to find a sense of and the history of Wales through the industrial museums in well-being and identity, to discover, enjoy and learn Blaenavon, Swansea, Drefach-Felindre and Llanberis, as well bilingually, and to understand Wales’ place in the wider St Fagans, National Museum Cardiff and the Roman Legion world. Museum in Caerleon. Over recent years, the Museum has developed an international touring exhibition exchange programmes with China and Japan as well as the United States, and is building strong professional relationships based on a shared commitment to principles of social justice with museums in Ireland, Latin America and Europe. The Museum also hosts the Biennale exhibition Artes Mundi exhibition and prize. Tate, UK Tate reinvented the idea of a gallery from a single institution Tate is a champion of art and its value to society. To increase public knowledge, understanding and to a branded collection of experiences – a series of It believes that an understanding of the visual can appreciation of British art from the sixteenth century to the destinations that attract audiences and democratise culture. enrich all our lives and that artists make a special present day and of international modern and contemporary It houses the UK’s national collection of British art, and contribution to the community. Tate therefore has art. international modern and contemporary art. It is a network of the ambition to make us all aware of the significance 4 art galleries: Tate Britain,Tate Liverpool, Tate St Ives and of the visual in contemporary life and how artists Tate Modern, with a complementary website, Tate Online. help us to see and interpret the world.

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 228 July 2018 Appendix 7: Vision and Mission Examples

Arts Organisation Description Vision Mission National Theatre Created in 2008, NTW is a flexible, non-building based Creating extraordinary experiences: for Wales and “The nation of Wales is our stage: From forests to beaches, Wales, Wales, UK organisation that offers imaginative theatrical productions, the world from aircraft hangars to post-industrial towns, village halls facilitates a spirit of collaboration, raises the international to nightclubs. We bring together storytelling poets, visual profile of the best work created in Wales, nurture talent and visionaries and inventors of ideas. We collaborate with reflects and comments on the culture and society of Wales, artists, audiences, communities and companies to create past and present. It aims to connect with Welsh audiences theatre in the English language, rooted in Wales, with an and make world-class theatre more accessible, especially international reach. You’ ll find us around the comer, across to those who do not attend mainstream theatre. the mountain and in your digital backyard.” We consider it our responsibility, as a national company to help nurture artists, small companies and the creative sector in Wales; to position Wales at the forefront of digital creativity; to lobby funders to invest in the cultural and creative sector in Wales; and to find new ways to encourage creativity among young people and in areas of economic and social disadvantage. Scottish National NGS comprises three galleries in Edinburgh and two partner NGS to be a powerhouse for art: inclusive, original Ensure that the public has the greatest possible access to Gallery, Scottish galleries in the North and South of Scotland (Paxton House and ambitious, making the collection accessible to the visual arts; that we educate and inspire the public; and National Portrait and Duff House). NGS looks after one of the world’s finest all and inspiring curiosity across the world. that we promote Scotland’s international reputation for art Gallery, Scottish collections of Western art ranging from the Middle Ages to and culture, both in the quality of our collections as well as National Gallery of the present day. These holdings include the national the strength and depth of our art community. We care for, Modern Art, collection of Scottish art which is displayed in an preserve and add to the objects in our collections; ensure Scotland, UK international context. that the objects are exhibited to the public; ensure that the objects are available to persons seeking to inspect them in connection with study or research; and generally to promote the public’s enjoyment and understanding of the Fine Arts; for those purposes to provide education, instruction and advice and to carry out research. National Gallery, Founded in 1824, the National Gallery houses a permanent To establish a central role for old master paintings in To preserve the collection by maintaining the highest London, UK collection of over 2,300 paintings dating from the mid-13th modern cultural life. standards of care and conservation, to enhance the century to 1900 that tell a coherent story about the collection by acquiring great pictures and to display it in development of W. European art. a sensitive manner for the enjoyment and understanding of the public.

229 Appendix 7: Vision and Mission Examples

Arts Organisation Description Vision Mission National Gallery of The gallery houses the national collection of Irish and An outstanding experience that inspires an interest To care for, interpret, develop and showcase art in a way Ireland, Dublin, European art. The Gallery has an extensive, representative in and an appreciation of art for all that makes the National Gallery of Ireland an exciting place Ireland collection of Irish paintings. to encounter art. Irish Museum of IMMA is Ireland’s National Cultural Institution for Not identified. Re-connect audiences and art, providing an extraordinary Modern Art, Dublin, Contemporary Art. It is home to the National Collection of space in Ireland where contemporary life and Ireland Irish and International Modern and Contemporary Art, now contemporary art connect, challenge and inspire on numbering over 3,500 artworks. The programme comprises another. IMMA shares, develops and conserves the Irish exhibitions, commissions and projects by leading Irish and National Collection of Modern and Contemporary Art for international artists, as well as an engagement and learning now for the future. programme which together provides audiences of all ages the opportunity to connect with contemporary art and unlock their creativity. Museo Reina Sofía, The museum comprises different venues, different To provide a collective search with non-authoritarian The program is based on a redefinition of the function of Madrid, Spain experiences and audiences. It specialises in the best of and non-vertical forms of cultural action, facilitating museums.... The museum is a place for debate and Spanish art and offers a mixture of national and international platforms for visibility and public debate. research. [It is] conceived to be a place that generates temporary exhibitions in its many galleries, making it one of opportunities for sociability and discussion in the public the world’s largest museums for modern and contemporary sphere. art. National Gallery of Preserving, collecting, exhibiting, fostering understanding Provide people with tangible reminders of the power The mission of the National Gallery of Art is to serve the Art, Washington, of the human spirit and the beauty of artistic United States of America in a national role by preserving, USA expression. collecting, exhibiting, and fostering the understanding of works of art at the highest possible museum and scholarly standards. National Gallery of Australia’s oldest, largest and most visited art museum, As Victoria’s cultural flagship and home to To illuminate life by collecting, conserving and presenting Victoria, Melbourne, housing an encyclopedic art collection across two sites. Australia’s finest art collection the NGV will be great art. Australia recognised as one of the leading art museums of the world. National Gallery of An inspiration for the people of Australia To develop and maintain a national collection of works of Australia art; exhibit, or make available for exhibition by others, works of art from the national collection or works of art that are in the possession of the Gallery, and; see every endeavour to make the most advantageous use of the national collection in the national interest.

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 230 July 2018 Appendix 7: Vision and Mission Examples

Arts Organisation Description Vision Mission Regional Contemporary Art Museums Serpentine / Two exhibition spaces: the Serpentine Gallery and the To make the Serpentine not just a place where art is The Serpentine promotes the understanding of art, Serpentine Sackler, Serpentine Sackler Gallery. With no permanent collection, seen, but an artist-led space in which ideas and architecture and design, and the way in which these fields UK the Serpentine and the Serpentine Sackler maintain a solutions are born. intersect with other disciplines, through its exhibitions, reputation by constantly offering new, exciting and architecture, design, education and public programmes as prestigious exhibitions. Alongside a seasonal exhibition well as its digital projects. programme, it presents an annual Pavilion in the Summer. Programmes are complemented by outdoor sculpture projects, artist commissions, digital commissions, public and educational programmes, and major outreach projects. Turner A visual arts organisation to contextualise, celebrate, and Art Inspiring Change Celebrating artists, creativity and learning through an Contemporary build on JMW Turner’s association with Margate. It acts as a ambitious programme of excellence, Turner Contemporary catalyst for the regeneration of Margate, aiming to in Margate enriches lives and inspires confidence to lead reinvigorate civic pride and inspire people to broaden their transformation. horizons and achieve their full potential. Nottingham A contemporary art gallery committed to excellence, We believe that contemporary artists offer Nottingham Contemporary is an international art centre Contemporary experimentation, ambition and innovation. The gallery extraordinary perspectives on contemporary with a strong sense of local purpose. promotes research, exchange and dissemination of ideas society. inspired by today’s art practices across disciplines and cultures. It works with a wide range of partners and supports the creative and critical empowerment of artists and audiences. SFMOMA, Modern art museum holding an internationally recognised Not identified. SFMOMA is dedicated to making the art for our time a vital San Francisco, collection of modern and contemporary art. It is international and meaningful part of public life. For that reason we USA in scope, while reflecting the distinctive character of the assemble unparalleled collections, create exhilarating region. The museum’s exhibitions and programs present and exhibitions, and develop engaging public programs. interpret compelling expressions of visual culture. In all of these endeavors, we are guided by our enduring commitment to fostering creativity and embracing new ways of seeing the world.

231 Appendix 7: Vision and Mission Examples

Arts Organisation Description Vision Mission MOMA, New York, To educate the public on Modern art To be the most engaging museum of modern and To collect preserve, study, exhibit and stimulate USA contemporary art – for everyone appreciation for and advance knowledge of works of art that collectively represent the broadest spectrum of human achievement at the highest level of quality, all in the service of the public and in accordance with the highest professional standards. Stedelijk Museum Stedelijk Museum voor Actuele Kunst is renowned for its Dynamic and unconventional. Keeping a finger on To establish an independent museum that focused on voor Actuele Kunst, permanent collection and for its provocative exhibitions. the pulse. But sometimes on the sore points too. contemporary trends in the art world. SMAK, Ghent, It puts the artist at the heart of its actions. It presents itself Belgium as a place of experiment. Palais de Tokyo, Palais de Tokyo is a museum dedicated to contemporary art Palais de Tokyo is the dynamic place for the artists Driven by the desire to change our vision of art, the Palais Paris, France situated in the western wing of the Museum of Modern Art of of our time. de Tokyo invites us to bear witness to the audacities of our the City of Paris. It is one of the largest venues devoted to time and to live the experience of art in the making, in all the art of our time in Europe, with its 22,000sqm exhibition its guises. space. It is dedicated to both emerging and established artists from France and the world. Contemporary Art An alternative art space in a former office building on a deck A means of self-institutionalisation for the artists To be an intermediary between official art institutions and Museum of Estonia, of a boiler house. It is a self-established non-profit initiative, and curators of younger generation. alternative galleries, and to keep asking what should be the Tallinn that positions itself between official state-run institutions and true nature of a contemporary art museum? an artist-led initiative. It is an unconventional concept of a contemporary art museum that works towards producing, exhibiting, collecting and popularising local and international contemporary art while altering the prevailing working methods of established art institutions. It is a tool of self- establishment for younger generation artists, curators and art students. Van Abbe Museum, The contemporary art gallery houses a collection of around Not identified. To think about art’s place in the world through a range of Eindhoven 2,700 artworks from 1909 to today. It takes an experimental subjects, including the role of the collection as a cultural approach towards art’s role in society and challenges memory and the museum as a public site. Openness, audiences to think about art and its place in the world. hospitality and knowledge exchange are important to us. International collaboration and exchanges have made it a place for creative cross-fertilisation.

National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal 232 July 2018