DOCSLIB.ORG

2010 Breakthrough Fund Funding for Exceptional Cultural Entrepreneurs

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
2010 Breakthrough Fund Funding for Exceptional Cultural Entrepreneurs 2010 Breakthrough Fund Funding for exceptional cultural entrepreneurs Maria Balshaw – Whitworth Art Gallery Stewart Laing – Untitled Projects Matt Peacock – Streetwise Opera Simon Pearce – The Invisible Dot Ltd Gavin Wade – Eastside Projects The Breakthrough Fund A successful arts economy requires not only great artists, but also Nominations process talented and visionary people who can enable these artists to make The Breakthrough Fund identified potential applicants through a process of great things happen. Paul Hamlyn Foundation set up the Breakthrough confidential nominations, asking a range of nominators to help spot talent Fund, over an initial period of three years, to support exceptional and share their intelligence across regions and art forms. Whilst art form and cultural entrepreneurs. This year sees the third and final funding round regional spread are not criteria for support, we believe that a balance has of the initiative as it was originally devised. PHF will now evaluate the emerged over the three years of the Fund. programme and start to assess its impact, with a view to reviewing This year, 15 nominators were chosen for their expertise and experience. findings in 2011/12 – and sharing them as widely as possible. They gave their personal recommendations without the nominees’ Cultural entrepreneurs may appear in a range of roles and with various titles – knowledge. Over 40 nominees were put forward and invited to enter the producers, artistic or executive directors, curators, chief executives – but they application process. each possess a pressing and persuasive vision, a drive and a strong track Paul Hamlyn Foundation gratefully acknowledges the invaluable contribution record of making things happen. The Breakthrough Fund aims to support of the nominators for the 2010 Breakthrough Fund: these individuals in their determination to make a difference to the cultural landscape in which they work. Lewis Biggs (Director, Liverpool Biennial) Over the three years of the Fund, PHF has identified 19 exceptional individuals Morag Deyes (Director, Dancebase) at critical points in their development – whether they are an emerging talent, Roanne Dods (Director, RoseOrange & Co-Director, Mission Models Money) reaching full stride in their work or at the pinnacle of their career – to provide support that will make a significant difference to them and to the organisations David Francis (Director of Arts, Dartington Trust) in which they work. Tania Harrison (Arts Producer, Festival Republic) Existing funding approaches, including the PHF Arts programme’s Open Grants scheme, require applicants to have fully formed proposals that detail Rhian Hutchings (WNO Max Director, Welsh National Opera) activities, outcomes, costings, confirmed income and delivery plans. This type Darius James (Artistic Director, Independent Ballet Wales) of funding does not always match what is required to realise a vision, where activities and outcomes are often fundamentally shaped by processes of James Kerr (Executive Director, Verbal Arts Centre) understanding, defining and planning – not just delivery. Donna Lynas (Director, Wysing Arts Centre) Funders are rarely willing to commit at the stage where a vision exists but is Shona McCarthy (Director, British Council Northern Ireland) not yet clear in terms of deliverable activities, resourcing and risk – however compelling it may be. Through the Breakthrough Fund, PHF has been able to Caroline Miller (Director, Dance UK) commit earlier in the cycle of making important things happen in the arts. Gillian Moore (Head of Contemporary Culture, Southbank Centre) Trusting that grantees will identify and realise their plans and the outcomes of the Fund’s support as they progress, lies at the heart of this commitment. Purni Morell (Head of NT Studio, National Theatre) The Breakthrough Fund exemplifies PHF’s willingness to take a new kind of Judith Palmer (Director, Poetry Society) risk, based on a judgement that the selected individual, and the structures Erica Whyman (Artistic Director and CEO, Northern Stage) through which they work, will prove to have what it takes to succeed. 2010 Breakthrough Fund recipients Maria Balshaw, Director – Whitworth Over the next three to four years, the plan is for him to carve out time and space to think, experiment, incubate ideas and make mistakes – through a Art Gallery series of residencies with key individuals from the UK and abroad, spanning a variety of fields, art forms and backgrounds – to develop a new artistic £260,000 Photo: Katia Porter strategy for the company. Maria Balshaw joined the Whitworth Art Gallery at He says: “When the Breakthrough Fund was first launched, it sent ripples of the University of Manchester in May 2006. An excitement through the arts sector – nothing quite like it existed and the inaugural Clore Leadership Programme Fellow in vision of the Paul Hamlyn Foundation to support arts entrepreneurs at critical 2004/05, her professional background spans Arts moments is something many of us can only dream about. This is a perfect Council England West Midlands, Creative time for Streetwise Opera to take advantage of the Fund – we have been Partnerships Birmingham and academic posts at developing a new production model involving live performance and film the University of Birmingham and University College which is producing exciting social and artistic benefits. To have more time to Northampton. experiment, incubate and dream is truly incredible and will catapult our The Breakthrough Fund grant will, over three years, enable her to conduct practice to the next level.” research and development as well as provide seed-corn funding for new programming strands that will emerge from the R&D carried out. This will include a part-time sabbatical for Maria over a six-month period, research Simon Pearce, Founder & Director – trips, a new curator-collaborator post for 30 months and a programming fund to explore ways of working differently with the collections, artists and The Invisible Dot Ltd audiences. All of this will take place alongside the major capital redevelopment she is leading at the Gallery, infusing new thinking into a ‘new’ £220,000 Whitworth Gallery. Simon Pearce has harnessed a huge number of She says: “Finding time to develop big ideas and retain the creative side of artists to create a whole movement of new talent in my director’s role at the Whitworth is my perennial challenge. The Comedy by bringing to the genre a unique Breakthrough funding will buy me thinking time at a critical time for me and combination of theatre and art practices. Having for the organisation. As we steer through a major capital expansion of the previously published performance poetry, he went Gallery, I will be able to research and develop some completely new ways of on to produce highly successful shows – including working with our wonderful collection, with artists, our audiences and our some of the most talked-about events at last new and old spaces. It is so unusual to have the trust of a funder at the year’s Edinburgh Festival where his productions won the main Comedy beginning of the creation process, so I feel extraordinarily honoured to Award and two Fringe Firsts. In February 2009, he had set up The Invisible receive this grant.” Dot Ltd to support his ambitions across genres. This Breakthrough Fund grant, over three years, will enable the appointment of a general manager for The Invisible Dot, underpin Simon Pearce’s own Stewart Laing, Founder & Director – wages as well as some office start-up costs, and also support some Untitled Projects research and project development activity. He says: “This bold scheme fosters flexible circumstances that nurture £273,000 singular work; unusual work that could not have existed otherwise. And for ommy Ga-Ken Wan this it must be applauded. I'm extremely proud to be among this year's Stewart Laing formed Untitled Projects in 1998, in recipients and I relish starting some unorthodox new projects and developing parallel to his busy international designing and Photo: T the ideas that really excite me.” directing career, to produce more personal, visually driven performances that attempt to reconfigure the perceived conventions of theatrical space. Untitled Projects has since produced four Gavin Wade, Founder & Director – ambitious and distinctive pieces of theatre in Eastside Projects Scotland over the past ten years. The Breakthrough Fund grant will enable Stewart Laing to expand the core £360,000 team of the company and secure his long-term collaborations with both Lorna Duguid and Steve Slater. Over a period of three years or so, the Gavin Wade set up Eastside Projects in 2008 as funding will also underpin other core costs as well as research and an artist-run public gallery space in Birmingham, development work. after 12 years of distinctive and challenging artist- curator practice in unusual spaces. His aim was to He says: “As a mature team, we are thrilled the Breakthrough Fund has establish a new model of artist-run space that recognised the potential for us to radically change the way we produce our supports high-quality artists’ practice, impacts work in Scotland. Over the past 12 years, we have been operating on a significantly on the cultural life of the city, and sporadic schedule, but we have now outgrown that production model. This contributes to both national and international critical cultural ideas and unique award will give us the opportunity to evolve into a more dynamic and agendas. From the outset, the organisation has relied on the interest and effective organisation.” good will of artists and on a committed team of volunteers. Over three years, the Breakthrough Fund grant will underpin the organisational and management structures of Eastside Projects, enabling the Matt Peacock, Founder & CEO – recruitment of an assistant director and supporting other key salaries, such as the gallery coordinator and assistants – with a view to developing a Streetwise Opera sustainable business and fundraising plan by the end of the first year.
Load more

Recommended publications
  • CVAN Open Letter to the Secretary of State for Education
    Press Release: Wednesday 12 May 2021 Leading UK contemporary visual arts institutions and art schools unite against proposed government cuts to arts education ● Directors of BALTIC, Hayward Gallery, MiMA, Serpentine, Tate, The Slade, Central St. Martin’s and Goldsmiths among over 300 signatories of open letter to Education Secretary Gavin Williamson opposing 50% cuts in subsidy support to arts subjects in higher education ● The letter is part of the nationwide #ArtIsEssential campaign to demonstrate the essential value of the visual arts This morning, the UK’s Contemporary Visual Arts Network (CVAN) have brought together leaders from across the visual arts sector including arts institutions, art schools, galleries and universities across the country, to issue an open letter to Gavin Williamson, the Secretary of State for Education asking him to revoke his proposed 50% cuts in subsidy support to arts subjects across higher education. Following the closure of the consultation on this proposed move on Thursday 6th May, the Government has until mid-June to come to a decision on the future of funding for the arts in higher education – and the sector aims to remind them not only of the critical value of the arts to the UK’s economy, but the essential role they play in the long term cultural infrastructure, creative ambition and wellbeing of the nation. Working in partnership with the UK’s Visual Arts Alliance (VAA) and London Art School Alliance (LASA) to galvanise the sector in their united response, the CVAN’s open letter emphasises that art is essential to the growth of the country.
    [Show full text]
  • “Museum Visionary” by Smithsonian Magazine, a Silicon Valley
    Nina Simon Nina Simon has been called a “museum visionary” by Smithsonian Magazine, a Silicon Valley Business Journal “40 under 40,” and Santa Cruz County Woman of the Year for her innovative community leadership. She is the Executive Director of the Santa Cruz Museum of Art & History and the founder/CEO of the OF/BY/FOR ALL movement. Nina is the best-selling author of The Participatory Museum (2010), The Art of Relevance (2016) and the popular Museum 2.0 blog. She lives off the grid in the Santa Cruz mountains with 20 people, 24 chickens, 5 dogs, and 1 zipline. Esme Ward Esme Ward was appointed Director of the Manchester Museum, the UK’s largest university museum, in April 2018 and is the first woman to hold the role in its 125-year history. Prior to this, she was Head of Learning and Engagement at Manchester Museum and the Whitworth, where she worked alongside Maria Balshaw on the £15 million redevelopment of the Whitworth. She is leading a significant capital development at Manchester Museum, renewing the creative and civic mission of the organisation with the ambition to become the most inclusive, imaginative and caring museum. In 2016/17 she was a fellow on the Clore Cultural Leadership Programme, exploring social and civic purpose, leadership and the future of museums. Her career has been driven by these values and a longstanding commitment to make museums more inclusive and relevant to the communities they serve. In 2018 Esme was awarded Honorary Professor of Heritage Futures from the University of Manchester. Esme is also the Culture Strategic Lead for Age Friendly Manchester and the Greater Manchester Ageing Hub, which heavily influences her work at the museum, ensuring culture in the city is accessible to all generations.
    [Show full text]
  • Report About the Project Director: Factory Manchester and Structural
    Manchester City Council Item 7 Personnel Committee 2 March 2016 Manchester City Council Report for Resolution Report to Personnel Committee - 2 March 2016 Subject: Project Director: Factory Manchester and structural changes in Strategic Development Report of: Chief Executive ___________________________________________________________________ Purpose This report seeks to establish a new fixed term role of Project Director for Factory Manchester for a period of up to 4 years to cover the period between June 2016 and January 2020. Recommendations: The Personnel Committee is recommended to: 1. Approve the creation of a position of Project Director for Factory Manchester at a salary of up to £140,000 for a period of up to 4 years and make a recommendation to Council on the remuneration for the post in line with the Council’s Pay Policy. 2. To appoint a subcommittee of four members to act as the appointment panel for the appointment of this position, with a quorum of three of the members for a meeting of the subcommittee. 3. To appoint a member as the Chair of the subcommittee. 4. To co-opt onto the subcommittee, as a non-voting member, a nominee of the Arts Council England so they may attend meetings of the subcommittee and be present during the consideration of any confidential business. 5. To delegate authority to the Deputy Chief Executive (Growth and Neighbourhoods), in consultation with the Chair of the subcommittee, to progress all aspects of the recruitment of the Project Director: Factory Manchester up to the point where a meeting of the appointment panel is necessary. 6. Approve an amendment to structural reporting lines for the Strategic Director (Strategic Development) and the structural position of the City Centre Growth and Regeneration team.
    [Show full text]
  • Maria Balshaw: Tate’S First Female Director
    ALUMNI MARIA BALSHAW: TATE’S FIRST FEMALE DIRECTOR INSIDE YOUR 2019 EDITION: ❱ A new concert hall for Liverpool ❱ The engineers of the future ❱ A bastion of digital tech ❱ CONTENTS 04 News Vice-Chancellor Professor Dame ALUMNI Janet Beer introduces a round-up 20 of campus news The most powerful 10 Class of 2018 woman in Welcoming more than 10,000 new British art graduates to the Class of 2018 How Liverpool shaped the path of Maria Balshaw 12 Making the law F Ecestiniti soluptate quod es voluptae. Offi ctis Harum quos CBE towards directorship 16 endignam facea qui blautIt’s es been maximin 125 years ullores since tibusam, the Liverpool comnia of the Tate galleries Navigating uncharteddollaccus exerunt. Law School was established. We and museums territory take a look at some of its greatest Three young entrepreneurs tell us achievements about their businesses, their Seismic events are by no motivations and how the Universitymeans feasibly19 predicted, IntoUniversity but n this issue we catch up with graduate Maria Balshaw helped them along the way Alumni volunteers have given their about her journey from Liverpool to the Tate; making steps towardstime to support such and enhancean the celebrate the 50th anniversary of the fi rst crossing of objective is imperativeexperiences of our students – here’s I how you can do the same the surface of the Arctic Ocean in which alumnus Dr Ken Hedges participated; and learn more about the new Digital Innovation Facility coming to Liverpool. 28 Class notes Thank you for all your feedback on last year’s magazine. What happened to your classmates Please do let us know what you think of this year’s edition.
    [Show full text]
  • Report on Art Galleries Bugdet to the Art
    Manchester City Council Item 5 Art Galleries Committee 17 February 2016 Manchester City Council Report for Resolution Report to: Art Galleries Committee – 17 February 2016 Subject: Manchester City Galleries’ report and revenue budget 2016/17 Report of: Director of Manchester City Galleries and City Treasurer Summary This report details Manchester City Galleries’ performance during 2015/16, outlines how we plan to deliver our vision in 2016/17, and presents a draft revenue budget for 2016/17 for the approval of the Art Galleries Committee. Recommendations Members are recommended to: 1. Approve the contents of the report, including the draft gross budget for 2016/17 of £3.258m, with cash limit budget contribution from Manchester City Council of £2.065m. 2. Recommend the budget to Executive for approval as part of the Council’s budget setting process. 3. Delegate authority to the Chief Executive and City Treasurer to make any technical adjustments required to take account of the impact of changes in 2015/16 and 2016/17 budgets. Wards Affected: All Community Strategy Spine Summary of the contribution to the strategy Performance of the economy of This report sets out proposals for the delivery of a the region and sub region balanced budget for 2016/17. Reaching full potential in This service, along with all others in the education and employment directorate, aims to support individuals, families and communities achieve best outcomes. Individual and collective self Individual respect and community resilience is a esteem – mutual respect key theme within the Neighbourhood Focus Strategy to which City Galleries contribute. Neighbourhoods of Choice Creating sustainable neighbourhoods where people want to live, work and stay as they become more economically independent is key to Growth and Neighbourhoods’ budget strategy, towards which this budget contributes.
    [Show full text]
  • Annual Seminar 2011 Speakers
    5th Annual Seminar Tuesday 1 November 2011, 10.00 - 17.10 National Portrait Gallery, London Biographies of speakers and chairpersons Dr Maria Balshaw has been Director of the Whitworth Art Gallery since June 2006. She has coordinated a challenging programme of historic, modern and contemporary exhibitions that capitalise on the Whitworth’s university location as well as having a strong international profile. In 2011 she took on the role of Director of Manchester City Galleries alongside her duties at the Whitworth. This dual Directorship represents a unique partnership between the University of Manchester and Manchester City Council, bringing the two institutions and Manchester’s historic and modern art collections into complementary alliance for the first time in their history. Early career experience included working as Director of Development and External Relations at Arts Council: West Midlands and from 2002 – 2005 she was Director of Creative Partnerships: Birmingham. In 2004, Maria was selected as one of the inaugural Fellows for the Clore Cultural Leadership programme. Before moving into the cultural sector Maria worked as Research Fellow in Urban Culture at the University of Birmingham and as lecturer in Cultural Studies at University College Northampton. She published a number of books and essays on African-American urban culture, gender and visuality. Dr Rosalind Polly Blakesley is a Senior Lecturer in the History of Art and a Fellow of Pembroke College at the University of Cambridge. Her publications include Russian Art and the West (co-editor and contributor, 2007); The Arts and Crafts Movement (2006); An Imperial Collection: Women Artists from the State Hermitage Museum (co-editor and contributor, 2003); and Russian Genre Painting in the Nineteenth Century (under her maiden name of Rosalind P.
    [Show full text]
  • Papers of Surrealism, Issue 8, Spring 2010 1
    © Lizzie Thynne, 2010 Indirect Action: Politics and the Subversion of Identity in Claude Cahun and Marcel Moore’s Resistance to the Occupation of Jersey Lizzie Thynne Abstract This article explores how Claude Cahun and Marcel Moore translated the strategies of their artistic practice and pre-war involvement with the Surrealists and revolutionary politics into an ingenious counter-propaganda campaign against the German Occupation. Unlike some of their contemporaries such as Tristan Tzara and Louis Aragon who embraced Communist orthodoxy, the women refused to relinquish the radical relativism of their approach to gender, meaning and identity in resisting totalitarianism. Their campaign built on Cahun’s theorization of the concept of ‘indirect action’ in her 1934 essay, Place your Bets (Les paris sont ouvert), which defended surrealism in opposition to both the instrumentalization of art and myths of transcendence. An examination of Cahun’s post-war letters and the extant leaflets the women distributed in Jersey reveal how they appropriated and inverted Nazi discourse to promote defeatism through carnivalesque montage, black humour and the ludic voice of their adopted persona, the ‘Soldier without a Name.’ It is far from my intention to reproach those who left France at the time of the Occupation. But one must point out that Surrealism was entirely absent from the preoccupations of those who remained because it was no help whatsoever on an emotional or practical level in their struggles against the Nazis.1 Former dadaist and surrealist and close collaborator of André Breton, Tristan Tzara thus dismisses the idea that surrealism had any value in opposing Nazi domination.
    [Show full text]
  • 15Th Elia Biennial Conference Rotterdam 2018 Urbanism Education
    Programme 21-24 NOVEMBER 2018 15TH ELIA ART BIENNIAL CONFERENCE EDUCATION ROTTERDAM URBANISM 2018 WELCOME 3 - 5 3 DOWNLOAD THE WHOVA APP Welcome to the 15th ELIA Biennial Conference Welcome to Rotterdam 5 ROTTERDAM & VENUES 6 -11 AND JOIN THE 15TH ELIA The city of Rotterdam 6 Main conference venue: De Doelen 7 BIENNIAL CONFERENCE Maassilo 8 Blue City 8 Walhalla / Circus Rotjeknor / Codarts Circus Arts 8 WORM / TENT 8 Other venues 9 Map of Rotterdam 10 EVENT TIMETABLE 12 - 18 PLENARY SESSIONS 20 - 21 PANEL SESSION 22 - 25 MOBILE THEMATIC SESSIONS THURSDAY 22 NOVEMBER 26 - 33 MOBILE THEMATIC SESSIONS FRIDAY 23 NOVEMBER 34 - 41 MEMBERS’ EVENTS 42 - 47 Open Space 43 ELIA Afternoon 44 General Assembly 47 CULTURAL PROGRAMME 48 - 51 Institution tours 48 Exhibition Maaskant Award: alumni of Willem de Kooning Academy 50 Performance 50 Civic Reception 51 Closing Party 51 SPEAKERS BIOGRAPHIES 52 - 55 Berhanu Ashagrie 52 Maria Balshaw 53 Elizabeth Giorgis 54 Jeanette Winterson 55 PRACTICAL INFORMATION 57 Info point, internet, useful numbers 57 THE EVENT INVITATION CODE IS: ACKNOWLEDGEMENTS 58 - 59 ELIABIEN18 NOTES 60 - 67 WELCOME BY THE STEERING GROUP WELCOME TO THE 15TH ELIA BIENNIAL CONFERENCE RESILIENCE AND THE CITY: ART, EDUCATION, URBANISM The contrast between the famously elegant renaissance city of Florence in the heart of Italy where the previous ELIA Biennial Conference took place two years ago, and the reconstructed industrial, cultural and commercial city of Rotterdam could hardly be more extreme. Situated just half an hour away from the more famous capital city, Rotterdam’s gritty determination and confdence in confronting economic, social and cultural opportunities and challenges make it an ideal location for this year’s conference.
    [Show full text]
  • Download Essay 2
    Reflections on the Year 3 Project 1 Participation Begins With Me: Reflections From 2 Tate and School Headteachers on Year 3 David Parker with Kate Atkins, Maria Balshaw, Jackie Benjamin and Anna Cutler Reflections on the Year 3 Project This essay is one of nine commissioned by A New Direction to reflect on the Tate Year 3 Project and provoke thinking about future projects. For the full set go to www.anewdirection.org.uk/year-3-reflections Reflections on the Year 3 Project 2 David Parker David is a freelance researcher and evaluator with an interest in arts and creativity programmes for young people. Recent evaluations have focused on work for the British Council, Arts Council England and Sorrell Foundation. Formerly he was Director of Research for Creative and Cultural Skills, Creative Partnerships and the British Film Institute. Participation Begins With Me: Reflections From Tate and School Headteachers on Year 3 June In Conversation with... Kate Atkins Headteacher at Rosendale 2021 Primary School, Lambeth EDITED BY Naranee Ruthra-Rajan Dr Maria Balshaw CBE Director of Tate COPY EDITED BY Marina Lewis-King Jackie Benjamin, Head teacher at Tyssen The term Tate Year 3 Project Community School, Hackney in the first instance and Year 3 thereafter refers Anna Cutler to the whole project Director of Learning and latterly including planning and Director of Learning & Research production stages. at Tate (2010 - 2021) Steve McQueen Year 3 refers to the artwork and exhibition. For clarity, we have referred to the school year group of Year 3 as Y3. 2 Reflections on the Year 3 Project 3 Kate Atkins Jackie Benjamin, Headteacher at Rosendale Head teacher at Tyssen Primary School, Lambeth Community School, Hackney Kate has been teaching in Lambeth for Jackie has been teaching for over 20 over 20 years.
    [Show full text]
  • PRESS RELEASE 05 July 2018
    UNDER STRICT EMBARGO UNTIL THURSDAY 5 JULY AT 10.00PM PRESS RELEASE 05 July 2018 TATE ST IVES WINS £100,000 ART FUND MUSEUM OF THE YEAR 2018 This evening (5 July 2018), Tate St Ives was announced as Art Fund Museum of the Year 2018, the largest and most prestigious museum prize in the world. Anne Barlow, Director of Tate St Ives, was presented with the £100,000 prize by artist Isaac Julien and the ‘world’s best teacher’ Andria Zafirakou at an award ceremony at the V&A, London. The winner was chosen from five finalists: Brooklands Museum (Weybridge), Ferens Art Gallery (Hull), Glasgow Women’s Library, The Postal Museum (London) and Tate St Ives (Cornwall). Each of the other finalist museums received a £10,000 prize in recognition of their achievements. Among the 400 guests at the dinner hosted by Stephen Deuchar, director, Art Fund were: Artists: Ron Arad, David Batchelor, Mat Collishaw, Michael Craig-Martin, Roger Hiorns, Gary Hume, Chantal Joffe, Isaac Julien, Ben Langlands and Nikki Bell, Lawrence Lek, Peter Liversidge, Junko Mori, Humphrey Ocean, Cornelia Parker, Grayson Perry, Gerald Scarfe, Yinka Shonibare, Bob & Roberta Smith, Linder Sterling, Mitra Tabrizian, Gavin Turk, Gillian Wearing, Stephen Willats and Bill Woodrow. Arts leaders: Maria Balshaw, Peter Bazalgette, Iwona Blazwick, Nicholas Cullinan, Michael Ellis MP, Alex Farquharson, Gabriele Finaldi, Tristram Hunt, Jay Jopling, Diane Lees, Jonathan Marsden, Nick Merriman, Munira Mirza, Frances Morris, Maureen Paley, Axel Rüger, Ralph Rugoff, and Nicholas Serota. The biggest museum prize in the world, Art Fund Museum of the Year seeks out and celebrate innovation, imagination and exceptional achievement in museums and galleries across the UK.
    [Show full text]
  • Matthew Darbyshire
    Press Release MANCHESTER ART GALLERY TO PRESENT THE IMITATION GAME AN EXHIBITION OF WORK BY EIGHT INTERNATIONAL ARTISTS EXPLORING MACHINES AND THE IMITATION OF LIFE 13 FEBRUARY 2016 – 5 JUNE 2016 (L) Mari Velonaki, Fish-Bird, 2003-present. Courtesy the artist (R) James Capper, TELESTEP, 2015. Courtesy the artist, Hannah Barry Gallery, London and Paul Kasmin Gallery, New York SHOW TO INCLUDE VIDEO, SCULPTURE, PERFORMANCE AND INSTALLATION WORK BY ED ATKINS, JAMES CAPPER, PAUL GRANJON, TOVE KJELLMARK, LYNN HERSHMAN LEESON, DAVID LINK, MARI VELONAKI AND YU-CHEN WANG CURATED BY CLARE GANNAWAY The Imitation Game 13 February 2016 – 5 June 2016 Press view: 12 February 2016 I propose to consider the question, “Can machines think?... Are there imaginable digital computers that would do well in the imitation game?” Alan Turing, Computing Machinery and Intelligence, 1950 In February 2016, Manchester Art Gallery will present The Imitation Game, an exhibition by eight international contemporary artists who explore the theme of machines and the imitation of life. The exhibition will include work by artists Ed Atkins, James Capper, Paul Granjon, Tove Kjellmark, Lynn Hershman Leeson, David Link, Mari Velonaki and Yu-Chen Wang. With a title inspired by Alan Turing’s ‘Turing Test’, devised to test a computer’s ability to imitate human thought, introduced in an article while he was working at The University of Manchester, The Imitation Game will include three new commissions and works never before seen in the UK. Manchester has a rich history of computer science, as the birthplace of the industrial machine- age, where the world’s first stored-program computer was developed.
    [Show full text]
  • Plus Tate: Connecting Art to People and Places Plus Tate: Connectingtable of Contents Art to People and Places Contents
    PLUS TATE: CONNECTING ART TO PEOPLE AND PLACES PLUS TATE: CONNECTINGTABLE OF CONTENTS ART TO PEOPLE AND PLACES CONTENTS TABLE5 INTRODUCTION OF CONTENTS 10 PLUS TATE ACROSS THE UK 12 ARNOLFINI 16 BALTIC CENTRE FOR CONTEMPORARY ART 20 CORNERHOUSE / HOME Front cover: Kenneth Martin Chance and Order VI (detail) screenprint on paper 1976 Tate 24 FIRSTSITE © The estate of Kenneth Martin 28 GLYNN VIVIAN ART GALLERY First published in 2015 by order of the Tate Trustees by 32 GRIZEDALE ARTS Tate Publishing, a division of Tate Enterprises Ltd, Millbank, SW1P 4RG www.tate.org.uk/publishing 36 THE HEPWORTH WAKEFIELD © Tate 2015 40 IKON 44 KETTLE’S YARD All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical or other means, now known or hereafter invented, 48 MIMA including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers or a licence from the Copyright Licensing 52 MOSTYN Agency Ltd, www.cla.co.uk 56 NEWLYN ART GALLERY & THE EXCHANGE Designed by Tate Design Studio 2015 60 NOTTINGHAM CONTEMPORARY Partner profiles written by Becky Schutt Coordinated by Amanda King 64 THE PIER ARTS CENTRE Printed by Westerham Press Ltd, UK 68 TATE Printed on paper certified by the Forest Stewardship Council 74 TOWNER ACKNOWLEDGEMENTS 78 TURNER CONTEMPORARY In making this publication, Tate is grateful to the many contributors from 82 WHITWORTH ART GALLERY the Plus Tate network for their readiness to participate and share
    [Show full text]