FIG. 1 (s� ILLUMINATING)

1

User’s Manual Eastside Projects Draft five (s� U S I N G) fifth The entries overprinted in pink and blue in this fifth draft DESCRIBING EXHIBITING NARRATING Organisations do not often provide user’s manuals. manual for Eastside Projects FOUNDING DISPLAYING CURATING This is the fourth draft user’s manual for Eastside were composed in response NOT-FOR-PROFITEERING ACCUMULATING ARTIST-CURATING Projects. It explains what the organisation is to the proceedings of ‘Public Evaluation Event’. This three BUDGETING CONTINUING COMMISSIONING made of, how it was set up, who it is for, how it day symposium took place at FUNDING MODIFYING PROVOKING can be used and what it can offer. As would be Eastside Projects during 27 to OCCUPYING TRANSFORMING INTRODUCING the case for operating a machine or learning a 29 October 2011. ¶ Staged as a PRODUCING series of public presentations, BELONGING LAYERING SEEKING subject, a manual may be necessary for the full REPRESENTING ¶ invited contributors (see FIG. STAFFING COLLECTING HOSTING SLOGANEERING use of Eastside Projects. In this draft, the manual 6, p. 24) evaluated three years CONTRIBUTING RETAINING CULTIVATING INSPIRING is structured as an alphabetical compendium of Eastside Projects from ORGANISING DOCUMENTING PRECEDING of verbs. Each of these interconnected entries various critical points of view. CIRCULATING Draft four of this manual — on REFERRING COMPLICATING TIMING describes an activity engaged in by Eastside which this present draft five is INTERPRETING ESCAPING Projects as an organisation or a process occurring overprinted — was used as a EVALUATING DEMANDING UPCYCLING in the Eastside Projects building. Beneath each prompt and reference during QUESTIONING II the event. ¶ Corrections and INTEGRATING COMPLAINING DECODING HAIRDRESSING entry is a prompt to the reader to follow one of ¶ additions for draft five ANSWERING ADJUSTING CONFOUNDING WHISTLE-BLOWING multiple narrative paths through the text. Readers were formulated during 1 SEQUENCING USING ENGAGING PARTNERING unfamiliar with Eastside Projects should begin ‘Public Evaluation Event’, and the overprinted elements now SPECIFYING SUPPORTING BORROWING at DESCRIBING. ¶ Other suggested starting ¶ ¶ operate as a layer of critical LINING CRITICISING COLLABORATING points: WELCOMING EXHIBITING commentary on the statements ADAPTING FACILITATING COOPERATING ¶ NARRATING ¶ COMPLICATING in draft four. New suggested ¶ starting points are: ADDING VISITING RESPONDING INTEGRATING. ¶ DISTRIBUTING ¶ OPERATING DESIGNING QUESTIONING ¶ PRODUCING. ¶ For more on this WELCOMING TYPE-DESIGNING REFLECTING process begin at EVALUATING.

OPENING PRINTING OPERATINGILLUMINATING PROGRAMMING OVERPRINTING STAFFING II PUBLISHING PUBLICISING PRIVATISING DISTRIBUTING Policy-Making SELLING Speaking PLACEMAKING INVESTING ADVERTISING DOG-WHISTLING PLANTING ECONOMISING FIG. 2 (s� W E L C O M I N G) Matthew Harrison, ‘Willkommen. COMMUNICATING LOCALISING Bienvenue. Welcome. C’mon In.’ (2008). TWEETING PATHS NEIGHBOURING Eastside Projects front door handle. ACCUMULATING Art Review. We also advertise in local listings At the end of each exhibition at Eastside Projects magazine Area. ¶ Turn to COMMUNICATING. we build on, recycle and upcycle its remains. In this way, each exhibition alters the space, and the ANSWERING space writes and records its own history. Each Eastside Projects has developed from new addition responds to and alters the existing responses to the following questions: ¶ How conditions. The gallery accumulates the traces do architecture and design support exhibition- of its use as part of a learning process. ¶ During making? ¶ Can architecture and design be used this process, certain artworks have become long- as curatorial strategies as part of a gallery term fixtures of the space. These include works by programme? ¶ Can exhibitions reveal the means, artists Susan Collis, Peter Fend, Martino Gamper relationships, and underlying ideologies in the ACCUMULATING II (s� C O M M I S S I O N I N G), Matthew Harrison making and representation of space? ¶ Turn to Eastside Projects accumulates (s� W E L C O M I N G), Barbara Holub, ISAN, SEQUENCING. a community of artists, designers, academics, Heather and Ivan Morison (s� M O D I F Y I N G), 2 curators and thinkers. Scott Myles, Jennifer T� (s� P L A C E M A K I N G), ARTIST-CURATING 3 The influence of these (s� T I M I N G), and Carey Positioning a thing/place/message in relation to relationships is apparent ¶ ¶ in many aspects of the Young. Turn to CONTINUING. another as art. Turn to COMMISSIONING. space, programme, working structures and thinking of the ADAPTING BELONGING organisation. S� FIG. 10, pp. 22–23, then turn to A D D I N G. Eastside is a regeneration area of Birmingham that ADJUSTING has frequently changed its boundaries over the last The new material overprinted ADDING ten years. It was established by Birmingham City in the margins of this fifth The following objects were added to the space in Council as a rebranding of the former industrial draft manual is arranged ¶ alphabetically. Adjustments to its initial repurposing in 2008. S� FIG. 5, pp. 7–8, heart of the city, meant to reshape the commercial existing entries appear either then turn to D E S I G N I N G. centre and increase the flow of business and as supplementary entries ¶ in the margins, or as marks civic functions. The name has b�n abandoned obscuring or altering parts of ADVERTISING and reclaimed on a number of occasions. Within FIG. 22 (s� B E L O N G I N G) Nikki Pugh, ‘19,264 Seconds of the original document. ¶ Turn We advertise our events and exhibitions programme current proposals, Eastside Projects is no longer Qualitative and Quantitative Data to USING. ¶ (Curzon Street, 2010)’ (detail). in art magazines such as Frieze, Art Monthly and located within Eastside. Turn to S T A F F I N G. Representation of GPS data mapping changes in the geography of Eastside. COMPLAINING FIG. 23 On Friday 28 October 2011, (s� also REVERSE-ENGINEERING) Three charts showing Eastside BORROWING It is driven by individuals through the desire to as part of ‘Public Evaluation Projects’ total expenditure during Event’, An Endless Supply — 2008–2011. A section of Mobile Wall System from Vienna multiply their potential to overcome scarcity or Secession (designed by Adolf Krischanitz in 1986) inequality in a way that they cannot alone. ¶ Turn a design practice founded by former Eastside Projects was on loan to Eastside Projects during ‘Narrative to COOPERATING. employees Harry Blackett and Show’ and ‘Painting Show’ (May 2011 to February Robin Kirkham — presented 2012). The Mobile Wall System was transported COLLECTING a series of anecdotal 855 miles from Vienna to Birmingham. ¶ The wall The gallery is a collection. The gallery is an indictments of Eastside ¶ ¶ Projects. ¶ The following is 2008–2009 represents a carrier of narrative. In September artwork. Turn to R E T A I N I N G. an extract from their scripted £129,442 2011 two parts of the wall were relocated to the performance. ¶ … ¶ Simon & Architectural Association in for ‘Narrative COMMISSIONING Tom Bloor, ‘As Long As It Lasts’ ¶ (21 February to 4 April 2009) Show Exposition’. Turn to COLLABORATING. Martino Gamper was commissioned to make ¶ Third show in programme an addition to the gallery as a contribution to too soon for directors to be BUDGETING (s� also FIG. 23, left) the exhibition ‘Book Show’ (July to September exhibiting their own work? ¶ FIG.3, Eastside Projects Income Undeclared high pollen count 2010). During the exhibition Gamper’s four-panel forces volunteer to leave 2008–2009 2009–2010 2010–2011 4 concertina structure in red, grey, yellow and white early. Debilitates him for a 5 ACE £100,000 £102,700 £126,551 laser-cut powder coated st�l was used to display day after allergic reaction. ¶ A necessary music, unnecessarily BCU £9,000 £12,700 £17,500 Katerina Šeda and Radim Peško’s project ‘Der 2009–2010 OTHER £23,319 £24,366 £71,669 quiet. Where’s VRU? ¶ I’m £152,337 Geist Von Uhyst’, a book in four editions, still waiting for publication PHF — — £115,000 each bound on a different edge. ¶ During colophon. ¶ The billboard fell down. ¶ … ¶ Joanne Tatham TOTAL £132,319 £139,766 £330,720 February 2011 the structure was used ¶ ACE = Arts Council England & Tom O’Sullivan, ‘Does Turn to F U N D I N G. BCU = Birmingham City University to present Book Works publications Your Contemplation of the PHF = Paul Hamlyn Foundation Breakthrough Fund during the exhibition ‘Again, A Time Situation Fuck with the Flow of Circulation?’ (4 July to 6 CIRCULATING Machine’. It remains in daily use September 2009) ¶ Difficult S� FIG. 20, p. 44, then turn to T I M I N G. for storing and displaying books. major summer show. ¶ A white ¶ Turn to PROVOKING. tunnel is about as delicate as a white suit. ¶ Gallery director COLLABORATING should turn his phone off during We believe in working collaboratively towards FIG. 4 (s� COMMISSIONING) public conversation with artists. Martino Gamper, ‘Untitled’ (2010). ¶ Sunday openings aren’t change. Collaboration is based on mutual Hinged book display system, laser cut working, just because you can 2010–2011 dependence, it is unpredictable, precarious, fragile. powder coated st�l. £310,493 doesn’t mean you should, all time low attendance figures. ¶ Attention artist-led spaces. You don’t exist if you don’t COMMUNICATING have a landline. ¶ Clarification We distribute printed matter to other venues needed as to volunteers and institutions locally and using postal services payment and complimentary ESP membership. ¶ The across the UK and internationally. We use online billboard fell down. ¶ … ¶ platforms such as our website, Twitter and ‘hobbypopMUSEUM’ (8 May Facebook. ¶ Anyone can join our fr� mailing list to to 13 June 2010) ¶ Newspaper receive messages from us by email or in print. To now feels like a daily as ¶ opposed to a big thick Sunday. subscribe email [email protected] Turn ¶ The most interesting element to TWEETING. of the exhibition was the install, something completely closed to the public. ¶ Most COMPLICATING hands off curating to date. ¶ We exist to respond to the best and most The billboard fell down. ¶ … challenging contemporary art and to put radical ¶ Carey Young, ‘Memento Park’ (27 November 2010 historical models and precedents to good use. 6 to 29 January 2011) We believe that if the art of today is complex and ¶ Delayed installation demanding then the places that we conceive for becomes performance during producing and experiencing it should reflect this. private view. ¶ No support ¶ system for Future Jobs Fund Turn to INTERPRETING. employees who need it. ¶ Staff rotation needs to be staggered to avoid one step CONFOUNDING forward, two steps back. ¶ S� FIG. 19, p. 42, then turn to E N G A G I N G. Specta update late. ¶ I’m still FIG. 5.1 (s� A D D I N G) waiting for Carey Young’s Support Structure, ‘Scaffold as major monograph. ¶ The CONTINUING Declaration of Altered Conditions’ (2008). billboard fell down. ¶ … ¶ “But walls don’t stay as walls, things happen to Temporary external and internal facades, scaffold tubing, fixings, boards, timber ‘Narrative Show’ (14 May to 10 them, things are put on them. So why not let hoardings, paint, various electrical fittings September 2011) ¶ Experience for outdoor lighting. of gallery now predominantly the thing evolve, let it continue, and s� what ¶ FIG. 5.2 through the website and happens?” — Peter Nadin, interviewed by Céline Support Structure, ‘Functional Twitter, being on the outside ¶ Configuration’ (2008). Condorelli, 2009. Turn to MODIFYING. Gallery entrance: front door, lights, communication is a problem. mobile front desk. ¶ Sending emails where text is in image form is bad practice. This point has been CONTRIBUTING ¶ raised with three separate S� FIG. 6, p. 11. A list of groups and individuals current members of staff, an who have worked with Eastside Projects. ¶ Turn to example of failing to learn from previous experiences. ¶ ORGANISING. Eastside Projects listens but it does not learn. ¶ Turn to COOPERATING (s� also P R E C E D I N G) ADJUSTING.

Eastide Projects is part of a fragile ecology of arts CULTIVATING organisations in Birmingham. Since 2010 the gallery Eastside Projects is a cultural has participated in We Are Eastside, a consortium organisation, which means we leading independent arts in the city. The following participate in the formation of culture. We intend our primary text constitutes the We Are Eastside manifesto activity to be cultivating: to and is set in the typeface developed for the project take care, to tend to, and to in 2010 by James Langdon and designed by Radim preserve. The relationship ¶ between man and his ecology Peško. Turn to RESPONDING. needs to be cultivated until the universe becomes 9 fit for human habitation. ¶ Turn to PRECEDING.

DISTRIBUTING See FIG. 24, p. 12. One of three broad terms used during ‘Public Evaluation Event’ to classify the labour required to maintain Eastside Projects (see also PRODUCING and OPERATING). ¶ A proposition: distribution is how messages go out into the world; the actions FIG. 5.3 (s� A D D I N G) FIG. 5.4 FIG. 5.5 that are prompted by sharing Support Structure, ‘Functional Support Structure, ‘Functional Support Structure, ‘Functional CRITICISING Construction: Residency Studio’ (2008). Construction: Recording Studio’ (2008). Construction: VRU Office’ (2008). information, knowledge, ideas, Stud wall construction, exterior dove Offset double stud wall construction, Stud wall construction, exterior cladding Crit Club is a series of intensive critical practice and conditions. ¶ Following grey and clear corrugated PVC sh�ts, exterior cladding anthracite coloured Pyrok, interior plasterboard. Single door ‘Public Evaluation Event’ we interior plasterboard, double doors to MDF, interior plasterboard. Recording to kitchen, access to recording studio. discussions facilitated by ESP staff and guest revised the job description common area. booth, single soundproof door. practitioners. Crit Club focuses on addressing for one of our staff members Ben Dawson Viviana Checchia Emmerson Press Vito Acconci Jodii Marsh to become ‘Gallery Assistant: FIG. 6 Mark Titchner Gale & Co. Ceri Hand Katy Woods Tauba Auerbach William Lambie List of groups Bill Drummond Distribution’. In this context, Beatrice Gibson Pete Cole Michele Mooney Bedford Press Tegid Cartwright and individuals Spartacus by distributing we mean: ¶ practice development and the long term concerns Flatpack Festival Jenny Stokes Jennifer Tee Melissa Dubbin Beth Hogan who have worked Chetwynd The Elephant Trust Melissa Richard Niessen Aaron S. Davidson Adam Smythe Marketing (advertising, web of individual members within a group context. with Eastside Marte Eknaes Marc Bijl Barcham Trees kay Hurlbutt Monica Szewczyk Will Holder Alex Bailey and other associated elements) ¶ Projects. Turn to FACILITATING. Iain Forsyth Wysing Arts Centre Alex Nikitas Museum de Jeremy Jansen Georgie Parks ¶ Lectures, talks, events ¶ Extra Gavin Wade Jane Pollard Leeds Met Gallery Georgina Barney Paviljoens OK-RM Julia Gouin Special People programme. ¶ Céline Condorelli Magnus Quaife Suki Bansi Alex Kapila Hamburg Walter Warton Samuel Rodgers James Langdon Rain Li Gill Whitting Naomi Paul Kunstverein Carey Young Nicola Lowery Turn to SPEAKING. CURATING Herbert Bayer Jimmy Fantastik Ikon Gallery Kate Hattley Christian Jendreiko Jennifer Allen Anna Morris Positioning a thing/place/message in relation to Adrienne Wade Barbara Holub Lorne Stott Kerry Rousell Volker Zander Paula Cooper Maurizio Bortolotti DOG-WHISTLING ¶ Simon Bloor Book Works Nav Haq Dore Robinson Matthew de Gallery Dan Graham another. Turn to ARTIST-CURATING. Tom Bloor Walid Glaied Athanasios Argianas Sarah Gordon Pulford mima As a contribution to the Ruth Claxton Helen Grundy Art & Language Amanda Hadingue Aaron Barefoot Cornerhouse Building Design exhibition ‘This is the Gallery Nicki Lupton Mel Bochner Ian Flynn Adam Beckley Ioanna Karavela Joe Hollyoak and the Gallery is Many Things’ Peter Fend Lisa Dawn Metherill Susan Collis Katharine Kavanagh Derek Hales Bull Ring Carpets Nigel Edmondson DECODING Andrew Reilly Joe Welden Michael Dean Alice Forrest Andrew Hill A. Appleby & Son Jonathan Monk (September to November S� FIG. 18, p. 42, then turn to C O N F O U N D I N G. Heather Morison David Miller Tatiana Echeverri Doug Fishbone James Bayley The New York Art Slavs & Tatars 2008), Kelly Large instigated Ivan Morison Apexa Patel Fernandez Ross McCarry Jim Kennedy Book Fair Paul Wade a perverse social ritual in ISAN Antonio Roberts Lothar Hempel Minta Peltokangas David Hately William Pope.L The Happy Hypocrite Don Hoo Tim Stock Torsten Hannah-Kaisa Jonathan Hackett Motto Distribution An Endless Supply the gallery. Each morning, DEMANDING Elen Bonner Harry Blackett Lauschmann Taskinen Lucky Singh Chiara Mingharelli Dora García following the opening of the Matt North Rachel Clarke Marko Lulic Leena Rasanen Andy Bole Naomi Thompson Nathaniel Mellors If previous gallery structures tend to lull you into Elizabeth Rowe Gene-George Earle David Medalla Bert Ross Andrew Moscardo Barbara Steveni Raimandus building, the alarm was Fay Khan Beth Fisher Scott Myles Simeon Corless Karl Held Graham Dunning Malašauskas left to sound until a passivity then Eastside Projects demands, through Matthew Harrison Rita Fletcher Elizabeth Price We Are Eastside Amin Samman Ruth Ewan John Russell 10 passerby or neighbour both its programme and the nature of its space, Laureana Toledo Sarah Farmer Tommy Støckel Future Jobs Fund Hannah Spencer Emma Cocker Jemima Stehli Lawrence Weiner Harminder Sue Tompkins Angela Maxwell David Williamson David Rowan Poster Club entered the building to that you are active. We invite you to project your John Butler Singh Judge Franz West Chris Brooke Manchester Josephine Flynn Cally Spooner complain. This process forced Gregory Sporton Terry Robinson Joanne Tatham Faiza Rehan Contemporary S Mark Gubb Vienna Secession our immediate neighbours — own contemplation onto the objects and narratives Mel Jordan Nami Patel Tom O’Sullivan Stefanie Andreou Mart Spruijt Pil and Galia Andrew Bass Yasmeen Shezad Dawood Supersonic Festival Anna Marsh Steenhouwerij Kollectiv Architectural a taxi repair workshop and presented in the gallery. This process is a prompt for Baig-Clifford Access Local Alberto Arsie Matthew Scandrett Buitenpost bv Sally O’Reilly Association a limousine hire company — further work beyond the public space of the gallery Stuart Whipps Asia Alfasi Robin Aurora Andre De Jong Nina Beier Brian Dillon Wayne Daly to enter the gallery, where Kelscaff Hans Christian Dany John Taylor Richard Savine Marie Lund Paul Hobson Zak Kyes into and onto the public sphere. This should be the Robert Stefan Heidenreich Mithu Sen & friends Madeleine Saether Ulises Carrión Zelina Garland Alison Tarry they were prompted to look ¶ Hepburn-Scott Karin Kihlberg Grizedale Arts Matt Foster Daniel Eatock Liz Hawley Emma Perry around. During a presentation purpose of the gallery. Turn to D E C O D I N G. Lara Ratnaraja Reuben Henry Para/Site Art Space Martino Gamper Mel Brimfield James Kennedy at ‘Public Evaluation Event’, Henrik Schrat Plastique David Osbaldeston Hannah James Nina Katchadourian Paul Eachus Jennifer Andrews David Burrows Fantastique Shedhalle Zurich Albrecht Schäfer Moritz Küng Becky Shaw Jon Muir Large likened this process Simon O’Sullivan Olav Westphalen Michael Takeo Ines Schaber Richard Venlet Mac Victoria Sprigg to a dog-whistle, suggesting DESCRIBING a.a.s. Lee Stowers Magruder Kelly Large Friction Arts Lindsey Crabb Zoo Art Fair Helen Brown Bedwyr Williams Grace Ndiritu John Latham Project Pigeon Hannah Najjar that Eastside Projects’ most Eastside Projects is an exhibition space with many Freee Kate Pennington- The Hut Project Jeanne van Fraser Muggeridge Companis Lucy Barrritt receptive audience is remote differences. It is a fr�, public space that is being Genie Printing Wilson Malgras & Naudet Heeswijk Rollo Press Lauren Davies Liam Smyth — outside Birmingham — and Chris Poolman Mark Essen Stan’s Café Paul Hamlyn Katerina Šeda The Lombard Sukhjeven imagined and organised by artists. We commission Richard Woods Dave Rhodes Daniel Salomon Foundation Radim Peško Method Chumber encouraging us to continue to Keith Wilson Jo Masding Juneau Projects Breakthrough Yann Sérandour Vinyl Art Space William Davie foster local relations. and present experimental contemporary art Joseph Hallam Robin Kirkham Stone Canyon Fund Simon Starling Marcus Coates Clare Kelly Large Nick Balmforth Nocturne Common Purpose Werkplaats Lizzie Neilson Hollingworth exhibitions, and propose ways in which art may be Chen Shaoxiong Elle Cole DJ Simpson Fierce Festival Typografie Rebecca Bibby ¶ Clarke & McDevitt hobbypop MUSEUM Keith Wilson Touseef Saleem useful to society. Turn to F O U N D I N G. Ben Kinmont Cliff Collins Continues on The Event Sharman & Co. Åbäke Polly Fibre Mithu Sen Richard Cresswell p. 24. Economics is not the best method of examining non- FIG. 24 (s� D I S T R I B U T I N G) DESIGNING ambitious, artist-led environment provided by Three charts showing Eastside ¶ economic production. Projects’ total expenditure on Economists give artists bad distribution during 2008–2011. Maxim: No default positions. No definitive forms. Eastside Projects. Turn to SUPPORTING. ¶ Turn to TYPE-DESIGNING. advice.” ¶ — The Freee Art Collective, ‘Economists Are ESCAPING Wrong! The Warsaw Manifesto DISPLAYING S� FIG. 12, pp. 26–27, then turn to U P C Y C L I N G. 2011’, published for ‘Public Evaluation Event’. 2008–2009 Eastside Projects questions the concept of a £7,743 default display environment. We do not perceive the EXHIBITING EVALUATING gallery as a ‘neutral’ space for staging exhibitions. We believe in the vitality of the medium of See FIG. 25, pp. 14–15. The gallery and its spatial configuration must be exhibitions. ¶ Turn to DISPLAYING. The apparatus of ‘Public reconsidered in response to each new programmatic Evaluation Event’ consisted ¶ of: two projectors, one 2009–2010 situation. Turn to ACCUMULATING. FACILITATING displaying supporting visual £11,974 ESP members m�t to develop their own and material required by the DOCUMENTING others’ practice within a regional, national and contributing speakers, the other displaying live updates S� FIG. 7, pp. 14–17. Artist Stuart Whipps has international context supported by Eastside ¶ from the Twitter hashtag 12 b�n making photographic documentation of Projects. Turn to V I S I T I N G. #PEE11; two stenographers 13 activities at Eastside Projects from a series of operating stenotypes; a monitor displaying live text (s� also ECONOMISING and PRECEDING) fixed positions since before the gallery opened in FOUNDING output from the stenotypes; 2010–2011 ¶ £31,493 2008. In May 2011 Whipps installed eight camera Gavin Wade first conceived and now runs sound and video recording mounting brackets in new fixed positions around Eastside Projects with a founding collective equipment; webcasting equipment; printed handouts the gallery. Periodically, during ‘Narrative Show’ comprising Simon & Tom Bloor, Céline Condorelli, ¶ presenting charts and other (May to September 2011), the artist made new Ruth Claxton and James Langdon. We are supporting information (see photographs from these positions, recording the a group of individuals who are motivated by FIG. 23, p. 4.); seating, tables ¶ and refreshments. ¶ Turn to transformations occurring in the space. Turn to common interests, and work together to achieve QUESTIONING.II REFERRING. a common objective. Our collective permits us Economising to share decision-making processes and exercise Exhibiting II “Not all production is (s� also FIG. 29, p. 35) Art is not exhibited. Art exhibits. commodity production. Not ENGAGING political, organisational and social power through all production is production Extra Special People (ESP) is an associate consensus, on an egalitarian basis, not focused for financial exchange. Not membership programme for anyone who would on financial benefit. ¶ Turn to NOT-FOR- all production is determined benefit from engaging with the dynamic, PROFITEERING. by supply and demand. FIG. 25.1, 25.2 (s� E V A L U A T I N G) The apparatus of ‘Public Evaluation Event’.

14 15

FIG. 8 (s� T I M I N G) FIG. 7.1, 7.2, 7.3 (s� D O C U M E N T I N G) Lawrence Weiner ‘As long as it lasts’ (2008). Documentation by Stuart Whipps of the Painted text installed on gallery column from exhibition ‘Narrative Show’ from fixed positions. October 2008 to October 2009. HOSTING During Public Evaluation FUNDING HAIRDRESSING Event, FormContent — an Our exhibition and publication programmes have “Let’s build an artworld in the image of the organisation founded in received additional project-specific support from hairdresser. The hairdresser attacks the way things 2007 by Francesco Pedraglio, ¶ Caterina Riva and Pieternel the following funding bodies: CFAR (BIAD, are. The hairdresser ploughs through facts with Vermoortel in east London Birmingham the not-yet. The hairdresser scours reality with — delivered a performance City University); alternatives. The hairdresser makes systematic on the theme of hosting. The following is an extract Diversity Arts mercenary war on what in fact is. This is why even from their script. ¶ As a Forum; The the most perfectionist hairdresser is ultimately statement, Eastside Projects Elephant Trust; on the side of wildness. The hairdresser trims takes a very particular The Embassy of individualistic and indisciplined growths into conceptual structure that can be conceived of as a Mexico; Fonds unified planned wholes and truth bearing events.” practice of hosting. ¶ … ¶ ¶ BKVB; Future — Freee, ‘The Whistle-blower’s Pocket Guide to The host welcomes relatives, Jobs Fund; Ikon Dissent in the Public Sphere Incorporating Let’s friends and acquaintances, ¶ stray dogs, passers‑by, back Gallery; Lisson Build and Fuck Globalisation’, 2010. Turn to packers, and so on. 16 Gallery; Mondriaan WHISTLE-BLOWING. 17 Foundation; TrAIN, London ILLUMINATING College of Communication. ¶ Additional core S� FIG. 1, front cover. funding provided by Business Link West Midlands. ¶ Lighting Eastside Projects. ¶ Turn to OCCUPYING. INSPIRING S� FIG. 14, p. 29, then turn to CIRCULATING.

INTEGRATING ¶ The invitation is never Eastside Projects considers persistent, though, yet subtly design, organisational delivered. The host likes FIG. 7.4, 7.5, 7.6 (s� D O C U M E N T I N G) interruptions, interferences, Documentation by Stuart Whipps of the structures and architecture to be an integral part ¶ twists and shifts, background exhibition ‘Narrative Show’ from fixed positions. of its programme. Turn to ANSWERING. noises. ¶ The host collects and produces, but never discards. on evaluation of savings ¶ Occasionally the host enjoys made and income generated INTERPRETING relationship betw�n Joseph Beuys’s work and swapping positions with ¶ for the state through the guests, making the role Our mission is thr�fold: 1) To not compromise the space it existed within, he was happy with it, investment in FJF employees interchangeable, shifting the nature of the artworks we exhibit by offering and didn’t even want to paint over other areas we at Eastside Projects. ¶ subjectivities. The host ¶ ¶ Headline calculation: every doesn’t host, but absorbs. unnecessary layers of interpretation, 2) To thought could be neatened! People s�m to n�d £1 invested generates a ¶ Turn to CULTIVATING. assist artists by providing a rich context within to create a difference betw�n what is considered return of £3.75. ¶ Net saving which they may express the full potential of their artwork and what is not, as if the gallery context for the state is £2.75 for INVESTING ¶ every £1 invested in Eastside Eastside Projects is a good work, and 3) To support the public to engage itself was not work and could be ignored. It is Projects. ¶ Scenario II: SROI investment for public and in both interpreting perception and perceiving difficult to explain until people come to Eastside for multiple stakeholders private stakeholders who are interpretation. ¶ Turn to DEMANDING. Projects; the space just makes sense when you impacted by the employment seeking to use their funds are present in it. Perhaps this is because it is so far of FJF practitioners at to generate social value. We Eastside Projects. ¶ Headline are currently undertaking INTRODUCING from a , and all the layers of the making calculation: every £1 ¶ a series of Social Return on S� FIG. 9, pp. 20–21. A list of artists who made of the space are apparent and overlaid, making it invested generates a return Investment (SROI) reports. their first Birmingham presentation at Eastside too complex to read from a distance.” ¶ — Céline of £7.59. ¶ Net benefit for SROI is a principles-based ¶ ¶ our stakeholders and for the method for measuring Projects. Turn to S E E K I N G. Condorelli, in ‘Manifesta Journal #10’. Turn to economy of Birmingham 18 extra-financial value COLLECTING. is £6.59 for every £1 19 — environmental and LAYERING invested in employment at social value not currently Eastside Projects by the reflected in conventional “The space also acts as a growing archive of its own LINING state. ¶ We intend to publish financial accounts — relative production and evolution. There was an interesting The interior architecture of Eastside Projects the detailed calculations of to resources invested. It point for me during the installation of Tacita Dean’s occupies the building with a thin and fragile layer: our completed SROI reports can be used by any entity in ‘This is the Gallery and to evaluate impact on work, ‘Darmstadter Werkblock’ (2007) in ‘Curtain a lining. This temporary, ad-hoc aesthetic reveals the Gallery is Many Things’, stakeholders, identify ways Show’ (March to April 2010). The artist’s assistant at any moment the layers of activity that have to be published in 2012. ¶ to improve performance, and could not understand why the wall was the way it shaped the conditions of the space. ¶ Turn to Neil Powell is assisting with enhance the performance ¶ our SROI Reports. ¶ Turn to of investments. Our first was (s� TRANSFORMING). It was difficult ADAPTING. ECONOMISING. SROI has been to measure to explain how, while being the remainder of an the impact of our work artwork, it was also part of the gallery and the LOCALISING with the Future Jobs Fund existing conditions that we wanted Tacita’s film (FJF) to employ unemployed In 2011 our str�t sign was designed, fabricated practitioners within our own to work within. Once it was clear that there was in powder coated st�l and scr�nprinted organisation and partner a congruent relationship betw�n the space and all within 300 yards of the gallery. ¶ Turn to organisations. ¶ Scenario I: the subject matter in Tacita’s own film of the NEIGHBOURING. SROI for the state only, based hobbypop- ‘Poster Club’ Barry McGee FIG. 9 Simon & Tom Bloor Heather � � � MUSEUM 14 May to David Musgrave List of Eastside ‘As long as it lasts’ & Ivan Morison � ‘Raving Gardens’ 9 July 2011 Paul Newman Projects 21 February �Magnus Quaife 8 May to Laura Aldridge André Niebur exhibitions. to 4 April 2009 & David 13 June 2010 Anne-Marie Rupert Norfolk Artists marked Osbaldeston � Copestake Nicolas Party with a �symbol Artists’ Films �Shedhalle Zurich ‘Book Show’ Kendall Koppe William Pope.L were exhibiting 21 February �Michael Takeo 3 July to Tom O’Sullivan Laure Prouvost in Birmingham to 4 April 2009 Magruder 4 September 2010 Nicolas Party Rob Pruitt for the first time. ‘This is the Gallery and �Johanna Billing �Bedwyr Williams Joanne Tatham & Tom O’Sullivan hobbypopMUSEUM ‘Narrative Show’ � Ciara Phillips RH Quaytman the Gallery is Many Things’ �Beatrice Gibson Grizedale Arts ‘Does your contemplation …’ �Nina Beier ‘Raving Gardens’ � Imran Qureshi ‘This is the Gallery & Alex Waterman �The Hut Project & Marie Lund Michael Stumpf � Alessandro Raho and the Gallery is �Malgras & Naudet �Ulises Carrión � Many Things’ ‘Sculpture Show’ Contemporary �Daniel Eatock ‘Narrative Show’ �Dan Rees 27 September to 2 May to Stan’s Cafe �Martino Gamper 14 July to DJ Simpson 22 November 2008 13 June 2009 Freee Nina Katchadourian 10 September 2011 �Tamuna Sirbiladze Moritz Küng Helen Brown Josh Smith �Marc Bijl �Athanasios �Daniel Salomon � � & Richard Venlet Dora García Alexis �Chen Shaoxiong Argianas Juneau Projects � Kelly Large Raimundas Marguerite Teplin �Spartacus Art & Language �Stone Canyon � Malašauskas Paul Thek Chetwynd �Mel Bochner Nocturne �John Latham � Nathaniel Mellors Hayley Tompkins & Marte Eknaes Henrik Schrat �Susan Collis �DJ Simpson ‘Abstract Cabinet Show’ Fraser Muggeridge ‘Book Show’ � William Pope.L � Rollo Press Jonathan Monk Richard Tuttle �Bill Drummond ‘One-Day-Comic’ �Michael Dean �Clarke & McDevitt � ‘Child’ � Heather Markus Vater Jimmy Fantastik �Tatiana Echeverri �Katerina Šeda � & Radim Peško & Ivan Morison Richard Woods �Peter Fend Fernandez ‘Second Gallery Sally O’Reilly Zheng Guogu Iain Forsyth �Lothar Hempel Programme’ �Yann Sérandour � Apexa Patel & Jane Pollard �Torsten 25 September to Simon Starling Liam Gillick Lauschmann 6 November 2010 �Werkplaats �John Russell ‘Corridor Plateau II’ Henrik Schrat Curated by Joseph Hallam �Marko Lulic Companis Typografie Keith Wilson Cally Spooner Kunstverein �Matthew Harrison �David Medalla Freee Jemima Stehli Schwerte �Barbara Holub �Scott Myles Christian Jendreiko � Jennifer Tee & Filho da Mãe Michael Bauer �ISAN �Elizabeth Price Gene-George Earle � � ‘Local Myths’ Stuart Whipps Christian �Ben Kinmont Shezad Dawood �Tommy Støckel Joanne Masding Liam Gillick Jennifer Tee ‘Painting Show’ � Freee Freudenberger Kelly Large ‘Feature: Architecture’ �Sue Tompkins Ultra High ‘Two Short Plays’ 25 September to ‘Local Myths’ Poster Club Markus Karstieß Heather �Franz West Temperature 6 November 2010 � � & Ivan Morison Doug Fishbone �William Pope.L �Seb Koberstädt Carey Young Andrew Palmer �Magnus Quaife �Joanne Tatham Elizabeth McAlpine � � ‘Memento Park’ William Pope.L Peyman Rahimi �SCUPA & Tom O’Sullivan � 27 November 2010 ‘Child’ Detlef Weinrich �Mithu Sen ‘Does your Liam Gillick � Support Structure contemplation ‘Two Short Plays’ to 29 January 2011 17 September to Mark Titchner of the situation 27 November 2009 5 November 2011 Dan Graham �Laureana Toledo fuck with the flow to 23 January 2010 & Rain Li of circulation’ ‘Models and Videos’ ‘Painting Show’ Lawrence Weiner Simon & Tom Bloor 4 July to ‘Curtain Show’ ‘Curtain Show’ 26 February to Carey Young 26 November 2011 ‘Corridor Plateau II’ ‘As long as it lasts’ 6 September 2009 13 March to 16 April 2011 ‘Memento Park’ to 25 February 2012 Fabienne Audéoud �Henrik Schrat 17 April 2010 ‘One-Day-Comic’ ‘Abstract Cabinet Céline Condorelli ‘Again, & John Russell 6 December 2008 Show’ Tacita Dean A Time Machine’ �George Best to 31 January 2009 26 September to Douglas Gordon A Book Works �Ashley Bickerton 8 November 2009 Barbara Holub touring exhibition �Simon Bill 26 February to Joe Bradley �Shezad Dawood Laureana Toledo �Hannah James � ‘Feature: & John Taylor Grace Ndiritu 16 April 2011 �Brendan Cass Architecture’ Mithu Sen Lilly Reich �Jonathan Monk �George Condo 6 December 2008 Support Structure Erik Satie �Slavs and Tatars �Cullinan/Richards Mark Handforth to 31 January 2009 ‘Sculpture Show’ �Para/Site Art �Ines Schaber �Dora García Dan Graham � Space Albrecht Schäfer The Happy Hypocrite ‘Models and Videos’ Dietmar Lutz FIG. 10.1 (s� A D A P T I N G) FIG. 10.2 86 Heath Mill Lane, Summer 2008. 86 Heath Mill Lane, Summer 2011. Michael Bauer FIG. 6 BAZ George Best Christian List of groups Institute for Ashley Bickerton Freudenberger and individuals Boundary Simon Bill MODIFYING NARRATING Markus Karstieb who have worked Interactions Joe Bradley Seb Koberstädt with Eastside Other Asias For example, the Eastside Projects office is the Narrative is a fundamental part of Eastside Brendan Cass Andrew Palmer Projects Outpost George Condo Peyman Rahimi (continued from Tactile Bosch artwork ‘Pleasure Island’ by Heather and Ivan Projects’ methodology and practice. Making Cullinan Richards Detlef Weinrich p. 11). The Royal Mark Handforth Standard Morison. Originally commissioned for the Wales explicit the idea of narrative within an exhibition Dietmar Lutz Basith Uddin Jennie Pardoe Judy Stevens Hayley Tompkins Man Chi Pun Jenny Andrews Paul Harfleet Pavilion at the Venice Biennale in 2007, the programme and why it is useful creates a context Barry McGee Aaron Sloman Tobias Hanisch David Raymond structure has b�n modified to function as an office. in which to assimilate and express ideas. This David Musgrave Shout Siân Conway Conroy Paul Newman Duncan Marquiss Chris Phillips Birmingham New features include a kitchen, desks, shelving ‘performance’ is through material, actions and André Niebur Vitamin Creative Jess Holt Friends of the ¶ Rupert Norfolk Space Malcolm Earth and a larger entrance. language. Language cannot describe a spatial, Nicolas Party Yangjiang Group Henderson Digbeth Residents Laure Prouvost Paul Harrison Alison Watson Association cumulative, and phenomenological environment Rob Pruitt Gavin Delahunty Robert Willis Edible Eastside RH Quaytman Beth Bramich Annabel Wyatt James Smith and all the artworks that exist within these Imran Qureshi Pendragon Andrew Tether parameters. At a certain point in narrating an Alessandro Raho Packaging Moscardo-Parker Helga Henry Dan Rees Simon Bailey Andy Bass element of fiction comes into play, which might Tamuna Sirbiladze Peter Brown Wendy Law John Russell Siân Davies Maria Fusco be closer to the real experience of the space, and Fabienne Audéoud David Dunphy Hildegarde Darby Josh Smith Mick Wilson Listed in this becomes a f�dback mechanism, that allows Alexis Marguerite 24 Sarah Thelwall pink are us to question and interpret the life of the space. Teplin 25 Alexis Lucia Ellis Julie Crawshaw contributors ¶ Paul Thek Simon Fox FormContent to ‘Public By now Eastside Projects is not just a physical Richard Tuttle Gillian Wylde Rebecca Evaluation Markus Vater Dom Allen Gordon-Nesbitt Event’. ‘building-up’, joining together and combining of Richard Woods Sophie Lisa Siân Vaughan Zheng Guogu Beresford Jonathan Vickery elements, but also a narrative flowing through the Kenny Schachter Stephen Cornford Helen Legg space. ¶ The world is understood through myths. Collection Petra Cortright Liz Hawley FIG. 11 (s� M O D I F Y I N G) Frank Cohen Flat Soufflée Maria Lind Heather & Ivan Morison, All meaning comes to us as stories. We can take Collection Rob Gawthrop Andy Field ‘Pleasure Island’ (2008). Deutsche Bank Christopher Public Works Sculpture converted to office. control of these stories to create our own meaning Collection Gladwin Francis McKee Rob Chilton Laura James & Gillian Croft and form new myths. Fragments of stories and Collection Samuel Rodgers Dierdre Jordan ¶ Montana Cans Maria Minerva Queen & Crawford The artists are presenting a series of puppet half-remembered truths form constantly re-written Corvi Mora Pete McPartlan Matthew shows within ‘Pleasure Island’ as part of the gallery histories and articulate new and possible futures. Gavin Brown’s Oneohtrix Higginbottom ¶ ¶ Enterprise Point Never Matt Foster programme. In July 2011 the artists created an Turn to C U R A T I N G. Jonathan Viner Alex Peverett Joseph Welden Sprueth Magers LUX Matthew Moore annex to ‘Pleasure Island’ as a home for Mighty White Cube Eva Weinmayr Olly Jones MOT Gallery (s� also DOG-WHISTLING) S Mark Gubb Avonstar Trading Titan, a mynah bird who we are teaching to recite NEIGHBOURING Carlson Gallery Katarzyna Jonathan Gordon the phrase ‘Du vergisst Dinge. Du vergisst Dinge. In November 2009 Eastside Projects staged Vilma Gold Kosmala Rupert Pane ¶ The Modern Institute Castlefield Gallery Sophie von Du musst.’ Turn to TRANSFORMING. the launch of ‘Fuck Book’, a new collection of Kunstverein Aid & Abet Hellermann Schwerte OPERATING FIG. 26 (s� O P E R A T I N G) See FIG. 26, p. 27. One of publications by Berlin based artists Declan Clarke pressures of becoming an institution. Our ambition Three charts showing Eastside three broad terms used Projects’ total expenditure on and Paul McDevitt in a Daddy Hummer, the largest is to incorporate the methodologies of art-making operation during 2008–2011. during ‘Public Evaluation limousine in Europe, loaned by our neighbours VIP at all scales and functions of the organisation. Event’ to classify the labour required to maintain Eastside Limousines and parked outside the gallery. II Projects (see also PRODUCING OVERPRINTING (s� also U P C Y C L I N G ) and DISTRIBUTING). ¶ A NOT-FOR-PROFITEERING A series of announcements for the exhibition proposition: operation is the organisation of manpower, Eastside Projects is an artist-run space as public ‘Narrative Show’ (May to September 2011) were place and resources. gallery, not for profit company limited by guarant� repeatedly overprinted. The exhibition was Operation is conditions and registration number 6402007. ¶ We are an Arts constructed around an evolving narrative ‘scripted’ policies. ¶ Following ‘Public 2008–2009 Council England National Portfolio Organisation by artists. 10,000 announcements were printed £78,736 Evaluation Event’ we revised the job description for one in partnership with Birmingham City University, in May and have b�n regularly overprinted and of our staff members to supported by the Paul Hamlyn Foundation distributed since, simultaneously announcing become ‘Gallery Assistant: Breakthrough Fund. ¶ Turn to BUDGETING. and documenting the changing conditions in the Operation’. In this context, ¶ by operating we mean: exhibition. Turn to PUBLICISING. 26 ¶ Building costs (rent, OCCUPYING 27 insurance, health and Eastside Projects occupies an industrial PARTNERING safety, maintenance) ¶ building, previously a cabinet makers, in Heath We have partnered with the following organisations Organisational costs (board ¶ and director meetings, Mill Lane, Eastside, Birmingham, UK. Turn to to present exhibitions: Book Works, London; 2009–2010 £106,117 accountancy, equipment, BELONGING. Cornerhouse, Manchester; Grizedale Arts, Cumbria; administration materials and general expenses) ¶ Personnel L�ds Met Gallery, L�ds; mima, Middlesbrough; (staff salaries, temporary OPENING Museum de Paviljoens, Amsterdam; Wysing Arts assistants, travel and Eastside Projects is open Thursdays 12 to 6.30pm, Centre, Cambridge. ¶ Turn to BORROWING. transport). ¶ Turn to STAFFING.II Fridays and Saturdays 12 to 5pm. (Closed during installation of exhibitions.) Admission is fr�. ¶ Turn PLACEMAKING to PROGRAMMING. In October 2010 Eastside Projects acquired an eighth column, a new fr�standing pillar joining the

FIG. 12 (s� E S C A P I N G) ORGANISING row of seven supporting the roof of the building 2010–2011 Jennifer T�, ‘Transcend £175,028 and Escape’ (2010). Eastside Projects s�ks to continuously question along its central axis. The existing columns are Designed by Richard Niessen. its status as an organisation and respond to the five-metre high cast concrete and st�l supports — Partnering II good. Imagine a city with many To make exhibitions Extra different Eastside Projects. elegant expressions of their functional simplicity. PLANTING Special People has partnered ¶ with Tactile Bosch (Cardiff), The new column is an artwork by Jennifer T�. In 2009 twenty Silver Birch tr�s from Simon and PRIVATISING Rogue Project Space ‘Local Myths’ is a thr�-metre high carved carrara Tom Bloor’s Eastside Projects exhibition ‘As long We are compelled to find (Manchester), The Royal sources of private income. Standard (Liverpool), Rhys marble totem with regular diagonal notches as it lasts’ were made available to be planted in ¶ Turn to POLICY-MAKING. and Hannah Present (Bristol) along its sides and a peaked apex — an elegant the planned Birmingham City Park. Individuals and Curfew Tower (NI), Hanson expression of the artist’s quixotic practice. organisations are invited to sponsor a tr�. A plaque PRODUCING Street Studios (Glasgow). See FIG. 27, p. 30. One of with each individual or organisation’s name will be three broad terms used during Policy-Making placed in the civic area with the tr�s, promising a ‘Public Evaluation Event’ We must look out for sites of commitment of growth and regeneration towards to classify the labour and policy void in order to fill the formation of a new public space. Each donor resources required to maintain them. ¶ Turn to INVESTING. Eastside Projects (See also also receives an editioned scr�nprint by the artists. OPERATING and DISTRIBUTING). ¶ PRECEDING Turn to LOCALISING. ¶ A proposition: production is Between the late 1990s and the actions that lead to making 2007 various artist-led things, and what is made. projects and groups PRINTING Things might be art, 28 existed in Birmingham. Our communications emphasise printed matter as objects, books, messages, 29 Lack of access to a rich and vital expression of the sensibilities of the exhibitions, the layers affordable, secure, long ¶ of making space and its term space was a consistent gallery. Turn to OVERPRINTING. narrative. ¶ Following ‘Public barrier to development. ¶ Key Evaluation Event’ we revised projects that helped produce FIG. 13 (s� P L A C E M A K I N G) the job description for one Jennifer T�, ‘Local Myths’ (2010). PROGRAMMING the conditions which led Carrara marble column. of our staff members to to Eastside Projects were ¶ Each year we programme four to five exhibitions in become ‘Gallery Assistant: B16 ¶ The Bond ¶ City Space our main gallery and four to five exhibitions in our Production’. In this context, ¶ Colony ¶ Crowd 6 ¶ The ¶ The new column supports no physical aspect of second gallery. ¶ We also present talks and events by producing we mean: ¶ Foundation ¶ [Insertspace] ¶ Exhibition conception ¶ ¶ Periscope ¶ Self Service the gallery, but instead supports the notion of local in various contexts on-site and off-site. S� Construction ¶ Installation ¶ ¶ Space Banana ¶ Spectacle myths: with the letters L-O-C-A-L-M-Y-T-H-S ENGAGING then turn to PUBLISHING. Technical equipment ¶ Artists’ ¶ Springhill Institute. ¶ In 2012 carved proud of the surface in vertical succession fees and expenses. ¶ Turn to access to affordable, secure REPRESENTING. long term space for artist-led down the length of its cool veined surface. T�’s PROVOKING and independent initiatives totem is a long-term artwork in Eastside Projects, We do not make art for the public. We are the is no better. ¶ The artist-led eventually to be located in a permanent site in the public that makes art. This is how we are of space is not a stop gap. The ¶ ¶ Eastside area. Turn to P L A N T I N G. benefit to society. Turn to INTRODUCING. FIG. 14 (s� P L A N T I N G) artist-led space is a public QUESTIONING II FIG. 27 (s� P R O D U C I N G) In preparation for ‘Public Three charts showing Eastside PUBLICISING The New York Art Book Fair (New York, 2010). Evaluation Event’ Eastside Projects’ total expenditure on ¶ Projects invited questions from production during 2008–2011. The billboards on the exterior and interior of Turn to S E L L I N G. Eastside Projects are the only such display our audience for consideration during the event. The following sites in the city operating outside the control of QUESTIONING ¶ is a selection of questions the major advertising corporations. Billboard We intend Eastside Projects to be a questioning received. ¶ Do exhibitions hoardings proliferate in regeneration zones in structure that in turn produces more questions and stand up against Twitter as a contemporary form? ¶ What city centre locations, as developers look to also, of course, possible answers. These typically is the role of small visual maximise their income by offering the use of their take the form of exhibitions and curatorial enquiry, arts organisations within the sites to communicate to those walking, driving and are pointed towards a set of innate properties wider arts ecology? ¶ How 2008–2009 can intangible assets be £42,943 and traveling by public transport. We declare of exhibition making; but also beyond that to the acknowledged as a resource? our publicness through the use of this platform sh�r elation of organising and discovering objects ¶ How does one measure ¶ to commission and present artworks. Works and ideas in space and context, for redefining and cultural value? ¶ Should have included Liam Gillick’s ‘The Doors Of The transforming essential human tools. This is why we contemporary art be funded ¶ by the government? ¶ How Administration Building Will Remain Open’ (2008) exist and why you may wish to use us. Turn to collaborative are you? 30 and ‘The Whatnots Of The Administration Building REFLECTING. ¶ How do you justify your 31 Will Remain Open’ (2008), Mark Titchner’s ‘Cut Us hierarchical structure? ¶ Is your budget completely Don’t Kill Us’ (2010), and Carey Young’s ‘Inventory’ REFERRING ¶ transparent and public? ¶ 2009–2010 How much time do you spend £34,246 (2007) (remade for Eastside Projects, 2010). Turn At least thr� exhibition precedents provide to PLACEMAKING. reference points and an underlying ethos for the branding your organisation as opposed to challenging it? ¶ continuing evolution of the gallery as an artwork. ¶ How much time do you spend PUBLISHING 1) El Lissitzky’s ‘Abstract Cabinet’ (1926/1930), thinking about the exhibitions Publishing is an important aspect of Eastside at the International Kunstausstellung Dresden and supporting artists within the total amount of time Projects’ activity — a mobile extension of the and Hannover Museum represents a clear and spent working? ¶ Why do you gallery space. We produce printed matter, books, radical emergence of the artist-curator generating stick to the term ‘gallery’ comics and editioned artworks. ¶ We have a constructed environment for artworks by Piet knowing its elitist origin? Is the idea of a ‘new gallery’ not a represented ourselves at various independent Mondrian, Naum Gabo and Lissitzky himself. It contradiction in terms? ¶ Have publishing fairs, including Publish and be Damned functioned as an artwork in itself, intertwined you ever failed? ¶ Do you take the notion of ‘art’ for granted? 2010–2011 (London, 2009), Spike Island Artists’ Book Fair with the selection and integration of other artists’ ¶ ¶ How do we collectively £103,801 (Bristol, 2009), Pa/Per View (London, 2011) and works. The ‘Abstract Cabinet’ can be used as a make the case that artists contribute socially, culturally and economically? ¶ Do you ¶ think we know your answers? model for an art space, a display device designed Nadin et al’s 1978 project began with this ¶ Are you Eastside till you die? specifically to support different directions in a announcement: “We have joined together to ¶ Is your board permanent? programme. We might think not of El Lissitzky’s execute functional constructions and to alter or Can it be changed and/ or added to? ¶ What is your aesthetics but of his approach to spatial design refurbish existing structures as a means of surviving curatorial policy on Eastside as a form of curating, the building and graphics in a capitalist economy.” This text forms the Projects’ gallery directors supporting and producing the curatorial process. starting point for Eastside Projects’ gallery policy showing their own works? G) N El Lissitzky, ‘Abstract Cabinet’ (1926/1930). I R R E F E FIG. 15.1 (s� R ¶ ¶ What is your position on and strategy. Just as Nadin et al’s exhibition unpaid labour? ¶ How do you started with the ‘empty’ gallery space, ‘This is the choose the artists you exhibit? Gallery and the Gallery is Many Things’ (September ¶ Do you feel the William to November 2008) — the first exhibition at Pope.L show is a success? ¶ Who is the audience? ¶ Eastside Projects — followed suit in an unravelling Given the elitist tendencies of function, design and execution by the gallery of the art world, how does and the artists. Eastside Projects engage Peter Nadin Gallery (1978–1979). FIG. 15.2 with the people of 32 Birmingham and align 33 with social struggles in these recessionary times? ¶ Is Eastside Projects aware ¶ of the critical literature 2) Peter Nadin Gallery (1978–1979), New York, REPRESENTING that is developing around by Peter Nadin, Christopher d’Arcangelo and Nick See FIG. 28, below. ¶ Turn to regeneration and what is its HOSTING. strategy in relation to the Lawson. A continuous exhibition titled ‘The work proposed ‘Cultural Quarter’? shown in this space is a response to the existing ¶ Turn to COMPLAINING. conditions and/or work previously shown within the space’. Artists included Daniel Buren, Peter Fend, Dan Graham, Louise Lawler, Sean Scully and Lawrence Weiner. The artists directly responded ¶ 3) ‘This is the Show and the Show is Many to each others’ work, developing a cumulative Things’ (1994), Museum van Hedendaagse Kunst, environment. Two of the artists (Fend and Weiner) Ghent, curated by Bart de Baere. The exhibition contributed semi-permanent works to the first included Honoré d’O, Fabrice Hybert, Louise FIG. 28 Chart showing basic demographic exhibition at Eastside Projects. Bourgeois, Suchan Kinoshita, Jason Rhoades and of artists exhibiting at Eastside Projects 2008–2011. Luc Tuymans. The artists collectively planned announcement of the restructuring of funding for the exhibition as a joint enterprise, defining the arts through Arts Council England’s National relationships betw�n each other and redefining Portfolio: ¶ “The cuts to the arts through Arts functions of the museum space. The title of the first Council England and Birmingham City Council REVERSE-ENGINEERING Eastside Projects exhibition, ‘This is the Gallery and represent a shift in the arts ecology of the city. In March 2012, the Mobile the Gallery is Many Things’, is adapted from this We Are Eastside has a strong position through a Wall System (see BORROWING) will be returned to Vienna exhibition and also functions as a policy and slogan. shared vision of Birmingham as an international Many Things’ (1994). ‘This is the Show and FIG. 15.3 Secession. A new long-term exemplar of ambitious collaboration across art work for Eastside Projects forms, combined expertise, resources and ideas, by Gavin Wade, ‘Mobile Wall and sustainable independent arts activity. Together System with 41 Permanent Pole Positions on a Square we can inspire the next generation of young people and Triangular Grid (After in our city.” ¶ Turn to QUESTIONING. Adolf Krischanitz)’ (2011) was conceived as a support system first RETAINING 2008–2009 (39) 34 used for ‘Painting We have a developing policy to negotiate with 35 Show’ (November 2011 artists commissioned to make major works for to February 2012). This new system was reverse- Eastside Projects to retain a copy of any edition as engineered from Krischanitz’s a legacy gift to a future Birmingham Museum of original by design and REFLECTING p. 40 Contemporary Art. ¶ Turn to DOCUMENTING. fabrication workshop Queen 2009–2010 (63) & Crawford. Eastside Projects’ S� FIG. 21 (draft five). The text in FIG. 21 has system now comprises b�n processed using the online application SEEKING ¶ 12 powder coated aluminium Wordcounter. All of the words used in this manual Actors ¶ Bass players called John ¶ Collaborators support poles, 281.5 x 5 x 5cm have b�n sorted and are shown organised by the ¶ Extra Special People ¶ Fish tank gravel ¶ Offset ¶ 10 powder coated aluminium ¶ ¶ ¶ ¶ support poles 393.5 x 5 x 5cm frequency of their use. Our vocabulary reflects printing press Questions Volunt�rs Turn to ¶ 10 hardwood, plywood and our concerns. ¶ Turn to ILLUMINATING. SLOGANEERING. MDF panels, 281.5 x 197.5 x 2010–2011 (85) 5cm ¶ 10 hardwood, plywood and MDF panels, 113.5 x 197.5 RESPONDING SELLING x 5cm ¶ stainless steel bolts FIG. 29 (s� E N G A G I N G) In April 2011, the We Are Eastside consortium We operate a small shop at the gallery and Three charts showing growth of ¶ stainless steel and brass issued the following statement in response to the online, selling our publications, selected guest ESP membership. floor inserts. STAFFING II Beth Bramich (Gallery Assistant: Distribution) In 2010 we employed our first publications, selected art magazines (such as STAFFING gallery assistants with the Frieze, Art Review, The Happy Hypocrite) and Eastside Projects is presently staffed by support of Future Jobs Fund. editioned artworks. ¶ Turn to ADVERTISING. ¶ Alex Bailey (Gallery Assistant) ¶ Ruth Claxton These gallery assistant posts are offered to developing art (Associate Director) ¶ Julia Gouin (Gallery ¶ ¶ practitioners for a period of SEQUENCING Assistant) Fay Khan (Administrator) Georgie one year. ¶ Following ‘Public “A book is a thr�-dimensional structure, a Park (Gallery Assistant) ¶ Samuel Rodgers (Gallery Evaluation Event’ we have message sent through a sequential support.” Assistant) ¶ Elizabeth Rowe (ESP Coordinator) changed the job descriptions ¶ ¶ ¶ we use for our staff to reflect — Ulises Carrión, ‘Bookworks Revisited’ (1979), Gavin Wade (Director) Katy Woods (ESP the constitution of our in ‘Book’, EP 10.1. ¶ Turn to SPECIFYING. Coordinator). ¶ Turn to CONTRIBUTING. activities outlined in the entries Bethan Lewis (Gallery Assistant: Operation) Joseph Welden operating, distributing, (Gallery Assistant: producing. These terms have II SUPPORTING (s� also PARTNERING ) Production) proved to be a useful means of ESP members are offered a range of opportunities organising our work. ¶ Turn to to develop their practice and car�r through critical PRIVATISING. group discussions, practical support and guidance, SUPPORTING II 36 exhibition and residency opportunities, networking Support is the tragic 37 events and one-to-one support from established double of the prefix. Support ¶ can’t spend time alone with FIG. 16 (s� S E Q U E N C I N G) art professionals and ESP staff. Dialogue betw�n itself, but is condemned to members is generated and supported through a existence only in relation to SLOGANEERING w�kly programme of informal and formal events something else. Prefix usually means an entity placed before Turn to INSPIRING. including seminars, talks, film scr�nings and visits something else in order to to exhibitions, events and projects in other UK change its meaning — such SPECIFYING cities. ¶ Turn to CRITICISING. as the ‘in’ which prefixes inedible — but in the case of Eastside Projects has a large main gallery space, support, a prefix is largely an Speaking 255 square metres; a second smaller gallery, 70 TIMING entity placed before (beneath It is pointed out to us that square metres, (equipped for video projection); S� FIG. 8, p. 15, then turn to E S C A P I N G. / behind / below) something we utilise persuasive ways of to maintain it in the condition speaking. We have dynamic, and an office/studio. Birmingham City University’s it is already in. ¶ For example: sexy, cool, words. We often use Visualisation Research Unit (VRU) offices and TITLING ¶ In support of structure ¶ In maxims and mottos. We need studios for image and sound editing are also on- 24-Hour Show ¶ Anti-Show ¶ Birmingham Show ¶ support of structural trauma more, quieter words perhaps. site. ¶ Turn to L I N I N G. Build Show ¶ Collage Show ¶ Collective Show ¶ In support of ideology ¶ ¶ Turn to DOG-WHISTLING. In support of the band that everybody really came to FIG. 21 organisation 18 see ¶ In support of language ¶ ¶ ¶ ¶ ¶ The 100 most have 17 ¶ In support of someone Comic Show Common Show Critical Show These materials were upcycled by artists Joanne commonly used through 17 ¶ ¶ words in this public 16 else ¶ In support of, erm, Curating Show Display Show Dymaxion Show Tatham and Tom O’Sullivan to construct an artwork manual, listed programme 16 bishops. ¶ — Beatrice Gibson, ¶ Empty Show ¶ Evaluation Show ¶ Figure Show ¶ in the form of a painted tunnel for the exhibition by order of the event 16 ‘Definitions of Support’, in frequency of city 15 Fill Show ¶ Function Show ¶ Herbert Bayer Show ¶ ‘Does your contemplation of the situation fuck with their appearance. within 15 ‘Support Structures’ (2009). ¶ ¶ ¶ how 15 Show KPI Show Manual Show Museum the flow of circulation?’ (July to September 2009). the 392 their 15 Ii to 275 were 15

¶ ¶ ¶ fuck with the flow of circulation?’ (2009). ‘Does your contemplation of the stituation Joanne Tatham and Tom O’Sullivan, FIG. 17.2 Titling Show No Show Overprint Show Painting Show and 239 what 14 Furniture Show ¶ Printed Show ¶ ¶ ¶ ¶ of 217 wall 14 ¶ Cutaway Show ¶ Game Show Post Show Projection Show Public Show a 174 can 14 ¶ ¶ ¶ in 145 build 14 ¶ High Speed Show Puppet Show Reality Show Recession Show ¶ ¶ ¶ is 121 make 14 ¶ Inbetween Show ¶ MacGuffin Riot Show School Show Solo Show Strip Show turn 86 mean 14 Show ¶ Mayors Show ¶ ¶ ¶ ¶ ¶ eastside 85 show 13 Super Show Title Show Triangle Show Type project 82 design 13 Pavilion Show ¶ Rip-off Show ¶ ¶ ¶ for 74 other 13 ¶ Shit Show ¶ Support Show Show Universe Show Upcycle Show Wall Show show 61 form 13 ¶ Uber Show. ¶ ¶ we 61 present 13 World Show X-Ray Show. gallery 58 has 13 as 57 each 13 it 57 us 13 TRANSFORMING by 54 book 12 art 48 staff 12 38 A square plinth was constructed in MDF to support an 48 may 39 12 exhibition 46 question 12 artworks by Athanasios Argianas, Michael Dean, space 40 these 12 ¶ be 39 time 12 Tatiana Echeverri Fernandez, Lothar Hempel, ‘Abstract Cabinet Show’ (September to this 35 one 12 Marko Lulic and Franz West during ‘Sculpture November 2009) upcycled the tunnel in the our 34 part 11 are 34 then 11 Show’ (May to June 2009). following ways. One side was re-covered with with 33 operate 11 I.1. s G) N I M R ‘Sculpture Show’ (2009). O F S N A R FIG. 17.1 (s� T support 33 print 11 wallpaper by DJ Simpson; one wall was extended was 32 all 11 that 30 display 11 with a service point for a performance; the back on 29 way 11 use 28 point 11 was converted into a commercial gallery art fair work 26 structure 11 stand; lighting was added to the inside of the from 26 context 10 at 25 overprint 10 tunnel for an exhibition of hanging instructions public 23 or 10 not 23 manual 10 called ‘This Way Up’ curated by Magnus Quaife artist 22 term 10 you 22 condition 10 and David Osbaldeston; and finally Stan’s Cafe new 22 event 10 undertook a five hour performance entitled ‘The also 20 fund 10 follow 20 see 10 Commentators’ on the roof of the tunnel during a evaluation 19 invest 10 artwork 18 busy launch night. Birmingham 18 do 18 TWEETING II ¶ We must be a thinking space. ‘Abstract Cabinet Show’ (2009). FIG. 17.3 ‘Book Show’ (2010). FIG. 17.5 Selected tweets from @eprjcts ¶ We must never become a #PEE11: ¶ We are the brand. ¶ We care about the production of the ‘to be looked area we are in and our city. at’ and the ‘to be attended to’. ¶ We are compelled to find ¶ We are enablers of display. ¶ private revenue income. ¶ We We are the history of ‘artist- must work hard to protect run space’. ¶ We may not have ourselves and our partner a fundamental core principle. organisations for the futures ¶ We are exhausting. ¶ We that we are able to anticipate. may advocate for a system ¶ We must punch above our of self regulation through a weight. ¶ Develop provision peer network. ¶ We engage for ultra extra special people. in a system of reputation, ¶ Our graphic design is not profile and currency. ¶ We ¶ ¶ a reflection of the gallery. It are not innocent. ¶ We might For the following exhibition, ‘Two Short Plays’ by Turn to L A Y E R I N G. is the gallery. ¶ We must get not comply with the existing Liam Gillick (November 2009 to January 2010), some leopard skin pattern into conditions of public support. the tunnel was dismantled and the painted and TWEETING our design. ¶ We must be an ¶ We are disclosers of important node in the wallpapered panels were used to construct a new Selected tw�ts from @eprjcts: ¶ A book able to problematics. ¶ We want ¶ cultural life of our city. 40 and need advocates. ¶ gallery wall as the backdrop for Gillick’s plays. reverse time. A water damaged Bas Jan Ader ¶ We need to be ‘just a 41 We must be patient. ¶ We Liam Gillick, ‘Two Short Plays’ (2009). FIG. 17.4 book. ¶ We’re cutting out pictures of Koi Carp really nice place to hang out’. are loyal. ¶ We might not live ¶ Birmingham is a second city and swimming men for Dan Graham! ¶ Narrative forever. ¶ We must reproduce ¶ similar to New York. ¶ We are a and become parents. ¶ We drives social cohesion. The hedgehog is a structural mechanism of social must keep a keen eye on specialist, the fox a generalist. ¶ Eastside Projects order. ¶ We are here to change what we are not looking for. ¶ power relations. ¶ We must ¶ We must learn from our is a multiplex! The withdrawal of support for be multicultural. ¶ We must experiences. ¶ Make sure we public good leads to art’s separation from society. continue, and champion, the really do. ¶ We must swap Not the other way around. ¶ Scaffold training idea of thinking in public. ¶ We positions with our guests. ¶ happening right now in the gallery. Some sound must be gardeners. ¶ We must We must do long term cultural ¶ know when to stop. ¶ We must planning. ¶ We might be ‘anti’ advice and sensible footwear on show. What is tweet things that we believe and ‘ante’. ¶ We must develop the opposite of painting? ¶ Art is the dismantling of in. ¶ We will go to Stockholm in art that is unfathomable, reality. ¶ Capitalism is over. ¶ Memorials promote three years time. unimaginable. ¶ We cannot ¶ ¶ “ deny that we are connected to In July 2010 the walls were dismantled and the forgetting. When I don’t know what an artist is the Birmingham of the 1970s. ¶ materials used to construct tables, book cases and doing, that’s when I’m having a good time. That’s We might be a new knowledge a plan chest for the Eastside Projects office. when I’m s�ing art. — Christopher Williams.” micro-economy. UPCYCLING II A question from the audience TYPE-DESIGNING UPCYCLING at ‘Public Evaluation Event’ In 2010 Eastside Projects invited Radim Peško Upcycling means speaking in a polyphonous way enquired as to why Eastside to develop a new typeface for the gallery. ¶ Choose upcycling to survive ¶ Upcycling is an Projects takes so little care over its choice of envelopes: The result, Specta, is a typeface designed for important form of protest ¶ Avoid being a human ¶ ¶ routinely our printed matter adaptability and specificity. Its first version resource Upcycle now, pay never Take and copy is mailed in generic office comprised an initial collection of letter forms and paste and change this manifesto ¶ Upcycle this envelopes. ¶ In response, that are being modified and added to in text ¶ — RELAX (chiarenza & hauser & co.), What at the suggestion of Fraser ¶ Muggeridge, the 1200 response to the changing conditions is Wealth? Turn to HAIRDRESSING. overprinted announcements of the gallery and the n�ds of for ‘Narrative Show’ (see its vocabulary. Condensed, VISITING overprinting) that remained at the end of the exhibition bold and monospaced versions ESP organises regular visits to arts organisations were transformed into bespoke are now also in use. The in other UK cities, providing opportunities for envelopes. ¶ Announcements first Specta type specimen members to broaden their UK networks and take for the exhibitions ‘Painting Show’ and ‘Corridor Plateau appears here and constitutes part in exchange projects. Recent trips have II’ were subsequently 42 the entries D E C O D I N G and visited Glasgow, Nottingham and Bristol. mailed in these envelopes. 43 CONFOUNDING. The format for these two new announcements was ¶ Turn to P R I N T I N G. WELCOMING ¶ determined by the dimensions S� FIG. 2, p. 1. The front door handle at Eastside of the envelopes that could Projects is an artwork by Matthew Harrison. Titled economically be made from the ‘Narrative Show’ ‘Willkommen. Bienvenue. Welcome. C’mon In.’ announcements. (2008), it is constructed from the following timbers: ¶ African Ebony ¶ African Padauk ¶ American Black USING Following ‘Public Evaluation Walnut ¶ American Cherry ¶ Ash ¶ B�ch ¶ Brazilian ¶ ¶ ¶ Event’ discussion took place Tulipwood Bubinga Cuban Mahogany East between the six directors of African Pau Rosa ¶ Lacewood ¶ London Plane Eastside Projects about the ¶ Maple ¶ Mopane ¶ Pink Ivory ¶ Purpleheart ¶ Pau implications of the term ‘user’ ¶ ¶ in the title of this document. Amarelo Santiné Bloodwood Violet Rosewood Concerns were raised that ¶ Wenge ¶ Zebrano. ¶ Turn to O P E N I N G. those using the space, in FIG. 18 (s� D E C O D I N G) FIG. 19 (s� CONFOUNDING) any capacity, should not be considered to be passive; and that Eastside Projects should not be considered to be a pre- programmed entity in the same WHISTLE-BLOWING Eastside Projects User’s Manual sense as an appliance, or any “Generating and maintaining a dissenting presence Draft Four, October 2011 Draft five, February 2012 other more typical subject of in the public sphere. Whistle-blowing is a calling ISBN 978-1-906753-29-0 a user’s manual. ¶ To clarify, we mean to cast the user in a to attention and a call to account for actions in self-determinate role. the public sphere. Whistle-blowing contests public Edited and designed by James Langdon modes of address, complimenting other forms such with Gavin Wade, Céline Condorelli, as radical political slogans, disaffected billboard Simon & Tom Bloor, Ruth Claxton posters, protesting performances, revolutionary 14–15 manifestos and rabble rousing videos. Artist Drawings on cover and pages 1, 5, 7, 8, 22–23, 24, collective Freee are devising new techniques of 28, 36 by Walter Warton whistle-blowing, techniques that they say we Drawing on page 42 by Tom Bloor can all use to halt the flow of ideology.” ¶ Turn to Installation photographs by Stuart Whipps PARTNERING. Specta typefaces by Radim Peško

44 Eastside Projects 86 Heath Mill Lane, Birmingham, B9 4AR, UK Tel. 0121 771 1778 www.eastsideprojects.org www.twitter.com/eprjcts www.facebook.com/eastsideprojects

FIG. 20 (s� C I R C U L A T I N G) Joanne Tatham and Tom O’Sullivan, ‘Does your contemplation of the stituation fuck with the flow of circulation?’ (2009). ENTRIES Economising ACCUMULATING ENGAGING PRINTING ACCUMULATING II EVALUATING ADAPTING ADJUSTING ESCAPING Exhibiting II PROGRAMMINGPRECEDING ADDING EXHIBITING PROVOKING PRIVATISING ADVERTISING FACILITATING PUBLICISING PRODUCING

ANSWERING FOUNDING HOSTING PUBLISHING ARTIST-CURATING FUNDING QUESTIONING QUESTIONING II BELONGING HAIRDRESSING REFERRING BORROWING ILLUMINATINGINVESTING REFLECTING REPRESENTING BUDGETING INSPIRING RESPONDING CIRCULATING INTEGRATING RETAINING REVERSE- COLLABORATING INTERPRETING SEEKING ENGINEERING COLLECTING INTRODUCING SELLING COMMISSIONING LAYERING SEQUENCING COMMUNICATING LINING SLOGANEERING Speaking COMPLICATING LOCALISING SPECIFYING STAFFING II CONFOUNDING MODIFYING STAFFING SUPPORTING Ii CONTINUING NARRATING SUPPORTING CONTRIBUTING NEIGHBOURING TIMING Titling Ii COOPERATING NOT-FOR- TITLING CRITICISING PROFITEERING TRANSFORMING COMPLAINING TWEETing Ii CURATING CULTIVATING OCCUPYINGOPERATING TWEETING DECODING OPENING TYPE-DESIGNING DEMANDING ORGANISING UPCYCLING UPCYCLING II USING DESCRIBINGDISTRIBUTING OVERPRINTING VISITING DESIGNING DOG-WHISTLING PARTNERING WELCOMING DISPLAYING PLACEMAKING WHISTLE-BLOWING II DOCUMENTING PLANTING Partnering Policy-Making