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Somewhere Between You, Them, Us and Me

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Somewhere Between You, Them, Us and Me Thinking “ Brace yourself for an “ Different, evocative, seeing Curating “ The fi rst initiative of its kind.” New art and the city of Bristol artistic adventure” Bristol from a different angle” Archive on tour Idea Magazine The Times Visitor Filming for Joao Penalva’s The White Nightingale in progress, Curating. Installation of the Curating Degree Zero archive Nathan Coley, Iceman, in St. Johns Churchyard, Bristol, 2005 Clifton Suspension Bridge, April 2005 Kathleen Herbert, Grande Spagna in Huller Warehouse, Bristol, 2005 in at NGCA, Sunderland Tour itinerary. “ I was so long writing www.situations.org.uk Somewhere Nathan Coley, Phil Collins, Spike Island, Bristol. Installation design and archive my review that I reinterpretation by Julian Claxton, Karen Di Franco, never got around to between You, Kathleen Herbert, Susan Hiller, Toby Huddlestone, Laura Mansfi eld, Lizi Sanchez reading the book.” Silke Otto-Knapp, João Penalva and Daniel Stringer. Groucho Marx Them, Us International Project Space, University of Central and Me England, Bournville, Birmingham. Installation design and archive reinterpretation by Tim Brennan. Discussion event. ‘Curating and the Public Sphere’ Celebrate the launch Speakers. Simon Sheikh, Gavin Wade, Mark Hutchinson of the new book and Kathrin Böhm. documenting Thinking of the Outside at Project Room at the Northern Gallery Arnolfi ni on Tuesday 6 December 2005. The commissioning and exhibition of artworks for “to respond to the city’s medieval walls”, was broad- in present and past: between the haunting cinematic A publication including the drawings, commissioned The Curating Degree Zero Archive, a unique collection for Contemporary Art, Sunderland. Installation design and archive reinterpretation unexpected places is by no means new. Thinking of ened to “examine present-day boundaries, architecture Jewish stereotypes of Hiller’s video installation against essays in response to the works and interviews will be of documentation material, invites the public to explore www.situations.org.uk the Outside descends from a long line of scattered-site and attitudes that deal with the relationship between post 9/11 discrimination; in Otto-Knapp’s golden published in December 2005. Not the fi nal word, but a the possibilities of the exhibition form. Bringing together by Gavin Wade. exhibitions and biennales over the past two decades outsider and insider”. This brief gave the artists a landscapes against the regeneration of contemporary contribution to the ongoing programme of artistic material from over 80 international exhibition-makers, Discussion event. ‘Curating can be learned, inspired by the nature of place. These projects recog- starting point from which to begin their research and urban public spaces. responses to Bristol. with descriptions of over 600 exhibitions and experimen- but can it be taught?’ nise the potential of active encounters between artists encounters with Bristol (rather than a restrictive frame- tal art projects, the archive is a resource that aims to Speakers. Liliane Schneiter, Tim Brennan, and cities, between the local and the international. work) and the fl exibility to develop their own interests. Catching the spirit of aspiration in the city, Phil Collins Thinking of the Outside. New art and the City of Bristol offer inspiration to artists, arts professionals and art- Barnaby Drabble and Stevan Vukovic. sent out an open call for unsigned music acts the artist was commissioned by Bristol Legible City and Picture lovers alike, and provoke discussion about what an In 2004, Situations was invited to curate a programme Though none of the works were site-specifi c, the selec- produced three promo videos which premiered at the This in association with Situations. The exhibition ran exhibition is, and what it might be. The Artspace at Imperial College and Discussion event of six new artworks for Bristol, entering into a tion and transformation of each of the fi ve scattered Orange Ashton Court Music Festival and will tour from 21 May to 3 July 2005. at Serpentine Gallery Installation design and archive commissioning partnership with Bristol Legible City, sites became an integral part of the project: Nathan internationally throughout 2005–06. Situations produced and managed the English tour of reinterpretation by Artlab, Jeanine Richards + the city’s public art and information programme, and Coley created a dominant temporary sculpture for a www.thinkingoftheoutside.com the archive between February and June 2005, helping Charlotte Cullinan. Picture This, a Bristol-based moving image projects disused Churchyard, João Penalva transformed an 18th The ‘front-of-house’ team, programme of talks and www.bristollegiblecity.info its founders Barnaby Drabble and Dorothee Richter to Discussion event. ‘Curating is part of my practice’ agency. One of the key challenges for the project was century market hall into a cinema and Kathleen Herbert workshops, associated marketing campaign and www.picture-this.org.uk present the collection to a broader public at venues in Speakers: Henrik Schrat, Paul O’Neill, Lise Nelleman to establish a relationship between the practices of the created a melancholic video installation for the website became vital to supporting visitors’ experience Bristol, Birmingham, Sunderland and London. With the and Artlab, Jeanine Richards + Charlotte Cullinan. invited artists and the commissioning brief. cavernous space of an empty riverside warehouse. of the exhibition. Talks included responses from an help of commissioned artists the archive took on a new asylum support offi cer, a lay chaplain, architect, curator look at each venue. www.curatingdegreezero.org Conventional public art often diverges from that of the The resulting exhibition took the visitor on an intriguing and historian. Artist Joff Winterhart produced a series of gallery or commissioning where greater prominence route through the Old City, though all the works drawings documenting Bumping the Bounds, conceived The tour was funded through the Arts Council National may be given to the particulars of the brief and role of consciously resisted nostalgic indulgence in the city’s by artist Frances Bossom, an education project Touring Programme. the client. Here the original brief to the artists, past. Rather, the artists’ works were marked by a tension managed by Arnolfi ni. “Somewhere between Phil Collins, the louder you Audiences Finances People You, Them, Us and Me” scream, the faster we go, 2005 Paul O’Neill on his position (audio selection) as invited observer at the Situations conference Scott Martin installs work by Silke Otto-Knapp, May 2005 Situations Offi ce In June 2005, as part of Thinking of the Outside, artist Phil Situations attracted a range of people to its activities, Lecture attendance Situations has no on-going programming budget How the programme was funded Bristol School of Art, Media & Design Collins established a video production company Shady building on the existing constituencies for the visual arts nor revenue grant. All costs, including staff (except University of the West of England Lane Promotions in Bristol. Scouring the local music in Bristol, and bringing national and international visitors Artists a part-time Senior Research Fellowship), have to Grants Bush House scene and sending out an open call for unsigned music to the city. Artists/University staff be raised through fundraising and in-kind UWE in-kind support 72 Prince Street acts, Shady Lane Promotions selected three acts – Forest University staff partnership support. UWE funds Bristol BS1 4HN Giants, I Know I Have No Collar and François – from the Audiences for the lectures reached over 2500, with the Students Partner funds UK city-wide campaign and created pop promo videos for core audience drawn from Fine Art, Visual Culture and Curators In 2003–05, the University of the West of England Partner in-kind support them. The fi rst screening of the videos was at the Orange Fine Art in Context undergraduate and postgraduate Critics received grants totaling £101,271 towards directly Earned income Tel. +44 (0)117 328 1459 Ashton Court Music Festival on Saturday 16 July in the courses from Bristol School of Art, Media and Design. Arts Organisations incurred costs for the Situations programme, contrib- Email. [email protected] Blackout Marquee. Locally and regionally based artists formed the next Local Authorities uting a further £27,313 in faculty grants and teaching www.situations.org.uk largest group. Students and staff from Wolverhampton Funders contributions and an estimate of £80,000 in-kind This selection of 10 tracks is taken from University, Bristol University, Bath Spa University College, support towards indirect costs such as overheads. Cover image. Custom House, Queen Square, Bristol over 30 submissions. University College Dublin, Dartington College of Arts, in preparation for Silke Otto-Knapp’s paintings, May 2005. Courtauld Institute of Art, University of Wales Institute Funds contributed by partners towards joint activities All photos by Jamie Woodley unless otherwise stated. I Know I Have No Collar........... Sleeptalking Cardiff, University of Bath, Plymouth University and totalled £176,800, whilst in-kind technical, administra- First Degree Burns.................... Rootin’ and Lootin’ Manchester Metropolitan University also attended. tive, curatorial and marketing support from our partners Graphic design. Thirteen. www.thirteen.co.uk Conference attendance How the funds were spent Situations 2003–05 was supported
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