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Ausstellungsraum bautzner69

about: 

Non-commercial exhibition space for photography and installation

how is/was it run/structured ?: 

what is/was it's legal status ?: 

  • other

how is/was it funded ?: 

address: 

Bautzner Str. 69
01099 Dresden 51° 3' 49.0032" N, 13° 45' 30.2184" E
DE

total size in sqm/sqft: 

usage: 

number of studios: 

number of exhibition/project spaces: 

established: 

2003

last known status of the project: 

last known status of the site: 

Centrum

about: 

Centrum is a contemporary art space in the Flughafenkiez district of Neukölln, Berlin. Formerly used as a retail store and brothel, Centrum’s exhibition space is not a pure white cube, but owes its specific character to its tiled floor composed of red ceramic and gray stone tiles, and from the large shop window looking out into the street. Artists have in the past on several occasions produced works and installations that were inspired by these characteristics and by the history of the space.
Centrum since 2009 has collaborated with various artists and has developed a series of experimental projects, including a festival of video installations and film screenings, and performances. Some projects were shown outside the exhibition space and in collaboration with other artist-run initiatives.
Centrum offers a platform for the discourses in and around contemporary art as well as the opportunity to meet other artists through artist talks, lectures, and film screenings.

how is/was it run/structured ?: 

what is/was it's legal status ?: 

  • other

how is/was it funded ?: 

history of the site: 

Situated in the so-called 'Flughafenkiez' (airport neighbourhood), in walking distance to Berlin's former airport Tempelhofer Feld, the space was formerly used as a dog shelter, café, and finally, until 2009, as a bar and brothel. In 2009 the space was refurbished and a large shop window towards the street was installed by Centrum's founding directors, Kate Squires and David Moynihan, before the exhibition space officially opened in 2010.

address: 

Centrum
Reuterstrasse 7
12053 Berlin 52° 28' 55.308" N, 13° 25' 45.984" E
DE

total size in sqm/sqft: 

usage: 

previous usage of the site: 

number of studios: 

number of exhibition/project spaces: 

types of studios: 

  • private

established: 

2009

last known status of the project: 

last known status of the site: 

The Russian Club Gallery

The Russian Club Gallery

about: 

The Russian Club (named after the site's previous incarnation as a Russian pool room and bar) was set-up as an art gallery and commercial fashion photography studios in 2008. The gallery was programmed by artist Matt Golden and focussed on pairing artists for exhibitions, as well as a small number of group shows with invited curators. The gallery was funded by the commercial photographic studios and the kind and generous effort of each of the exhibiting artists.

Golden ended the gallery programme in 2012 but has since curated Russian Club exhibitions at Annely Juda Fine Art and artists commissions in Rollacoaster Magazine.

The Russian Club continues to run as commercial photography studios as well as being the artistic base for Matt and Natsue Golden.

how is/was it run/structured ?: 

what is/was it's legal status ?: 

  • other

how is/was it funded ?: 

history of the site: 

Mechanics workshop / pool rooms and bar

address: 

The Russian Club
Kingsland Road
E8 4DA London 51° 32' 24.3564" N, 0° 4' 34.626" W
GB

usage: 

previous usage of the site: 

number of studios: 

number of exhibition/project spaces: 

established: 

2008

vacated: 

2012

last known status of the project: 

last known status of the site: 

Eastville Project Space

about: 

Located on the top floor of an old glove making factory, Eastville Project Space is a multi-functional space includes a studio for multi-media production, a residency space for all kind of creative projects, an exhibition/event/project space for showing.

We are a creative hub for artistic collaboration, where artists and curators can develop and produce innovative projects that are relevant to the their audiences.
We offer residency programme, exhibitions, public events, networking and workshops. We also host Yeovil Hackerspace http://eastvilleproject.org.uk/category/yeovil-hacker-space/

The Eastville Project Space aims to:

Create a hub for artists at local, national and international levels to develop new work in a supportive and stimulating environment.
Encourage artistic and curatorial collaborations between artists, audiences and the Eastville Project Space.
Support the development of socially engaging practices. Develop work that has a strong reflection of place and people.
Strengthen the arts and cultural infrastructure in Yeovil and Somerset through a new project that engages with artistic communities and audiences in a unique social landscape.

how is/was it run/structured ?: 

what is/was it's legal status ?: 

  • unincorporated organisation

how is/was it funded ?: 

history of the site: 

A former gloves making factory by Messrs W Tavener & Son since 1940s. http://www.yeovilhistory.info/tavener-gloves.htm

exhibitions, events, workshops: 

For the latest event, please visit http://eastvilleproject.org.uk/category/event/

address: 

2/F Thorne House
Eastville
BA21 4JD Yeovil , SOM 50° 56' 40.164" N, 2° 37' 24.2076" W
GB

total size in sqm/sqft: 

usage: 

previous usage of the site: 

number of studios: 

number of workshops: 

number of exhibition/project spaces: 

types of studios: 

  • open plan

types of workshops: 

established: 

2014

last known status of the project: 

last known status of the site: 

The Penthouse

about: 

An independent not for profit artist led work and project space in Manchester’s Northern Quarter. A place for making, doing and sharing by artists Rosanne Robertson and Debbie Sharp.

The Penthouse is the place to get your heads and hands dirty with ideas and new beginnings which fly from our rooftops directly into the city around us and beyond.

The Penthouse is the permanent studio base of Rosanne Robertson and Debbie Sharp.

Noise Above Noise was borne of The Penthouse- described as

“Performance series Noise Above Noise elevates Manchester’s underground scene to the fifth floor of a tower block”. Frances Morgan- The Wire.

“The Penthouse, found on the top floor of a 1960s office block at the less-saturated edge of the Northern Quarter, is not your average exhibition space. Formed by Rosanne Robertson and Debbie Sharp in late 2012, the studio offers access to the duo’s workspace, used by a variety of creatives to generate multi-sensory experiences, with an emphasis on the divergent and unique…The hands on environment is unlike any other in the city, and encourges experimentation like nowhere else”. Charlotte Davies- The Skinny.

Our main project of 2016 focuses on the effect of space and place on artistic production with dedicated artist residencies at The Penthouse and a public seminar on the subject Sept 2016. Email or tweet us for appointment- we aren’t usually open outside of public events which are advertised via website.

how is/was it run/structured ?: 

what is/was it's legal status ?: 

  • associated group

how is/was it funded ?: 

history of the site: 

Hilton House was built in 1961- designed by architect Richard Seifert who was the architect on famous projects such as Euston Station and Centre Point, London. Originally built as home for Manchester Polytechnic's Lighting and Drama Department it later became a a fashion showroom at ground level and housed a family school uniform business. Ran by the same family who owed the school uniform business the building is now home to a bar on ground level and is of mixed use on other levels. The Penthouse have occupied the top level of the building since 2012.

address: 

The Penthouse
26 - 28 Hilton Street Top Floor, Hilton House
M1 2EH Manchester 53° 28' 50.718" N, 2° 13' 55.6284" W
GB

total size in sqm/sqft: 

usage: 

previous usage of the site: 

number of studios: 

number of workshops: 

number of exhibition/project spaces: 

types of studios: 

  • private

types of workshops: 

established: 

2012

last known status of the project: 

last known status of the site: 

Five Years

about: 

Five Years is a collaborative artists' project.

Founded in 1998, Five Years' initial aim was to set up a gallery which was artist-run and where programming would maintain a direct relationship to practice. Five Years continues to develop this aim of maintaining close links between the production and exhibition of visual art, and the discourse which informs it. In February 2007 the membership was expanded to form a loose knit collective of artists.

Rather than acting as a 'curatorial' entity, the group's members continue to develop exhibition projects based around concerns emerging from their own practices; offering these projects as frameworks within which other artists can, through participation, respond to or engage in dialogue around the concerns being discussed by the group. Through these processes, Five Years aims to create a context which fosters productive dialogue between artists and the exposure of ambitious new work.

How might an artist-run gallery, a collection, a collective, a communal project?
Such a problem became one of identification. How do we, participants in Five Years, define ourselves in relation to the space and project? How do we identify ourselves to be seen in relation to the expert discourse of the market?
The project must display within its protocol,to being named and identified in this process, to submit (even if marginally) to its form of management.
As a collection of fragments, then, Five Years approaches its own arrangement as a collection that foregrounds the justice of exteriority, a refusal of synthesis through selection, a justice of “arrangement at the level of disarray.”
A gallery in pieces (a collection of pieces, a collective based on the fragment), the inclusion in the space shows not one distilled collective concern, but a concern for collective equivocity. Such a term does not call towards ambivalence or ambiguity. Instead it points towards equal voices, towards the struggle that equality demands.
To place voices in equal is to experience not harmonic synthesis (achieved through the sublime violence of sublation) but the constancy of struggle, of the discordance of discourse among equals.

The collective whole or work of Five Years, then, is the work of the empty place around which a garland of fragments operate. As fragments (each practice a fragment) each practice is that of the ‘complete’ individual – the hedgehog or porcupine principle whereby the fragment individuates completely – but these complete parts converge as on a garland. The string upon which these fragments are strung, Five Years, encircles an ‘empty place’ as the site of incompletion, of the refusal of completion through synthesis. Here the possible activity of dissensus rather than consensus can take place, if one is brave enough.
A fleeting proposition from us: Romantic Bureaucracy is put forward, is put on hold. (To think a bureaucracy in terms of Romanticism put forward by Blanchot would be to think about an instrumentalisation of a movement that necessarily composes and decomposes, that comes together to fall apart.
So. Not Romantic Bureaucracy, then. That is happening already as an artist run space- exhibition-event form, that persistently un-works itself, refuses coherence. To borrow again from Blanchot, we perhaps have here the work of un-working.
To end for now with a question: we might ask, paradoxically, what is lacking in the fragment? Both nothing and everything – it is both irresolutely complete and incomplete. Instead we might ask how one moves from the open field of the social to the abrupt violent gesture that fragments, that causes the fracture of the fragment.

how is/was it run/structured ?: 

what is/was it's legal status ?: 

  • charity

how is/was it funded ?: 

history of the site: 

Five Years started in 40 Underwoord st, the site was an old Victorian Soap Factory. For its new location in 66 Andrews Road, we found an industrial building initially used for working only spaces.

exhibitions, events, workshops: 

2015
Associates
Delta: Oona Grimes, Mark Jackson, James Lowne, Clare Mitten, Mia Taylor
S_ _ _K:
Charlotte Knox-Williams, Russell Hart, Helen Austwick Zaltzman
Vertigo Rising: John Hughes & Liz Murray
Descriptor: Bernice Donzeilmann
Bang Your Head: Architecture of Conversation
Ilga Leimanis+Bidisha Sinha
How to Write: Reading Groups. Part 1.
The Naturalness of Strange Things: The Line That(…)
Luxury Complex: Remembering Satan
Loop-the-Loop
Steve Klee Too Prolix: Between a Rock and a Hard Place
2014
dis-kuhm-bob-yuh-leyt
five sheets at Five Years: Susan Johanknecht and Katharine Meynell
Beside: Nicole Morris, Katrin Hanusch and Mark Duffy
texts from Emily Beber, Giulia Damiani and Amy McKelvie
The School of the Damned: Interim Show
Benefit: All Research Is Crisis
Five Years & School of the Damned Discussion/Events
Ms. Seat Cello: Rochelle Fry
Summer Camp: School of Calidity/ Doggerland/ Fear + Trembling
Worlds Apart
FiveYears: Fragments at the Showroom
Michael Lawton: Jardines de Sabatini
Giorgio Sadotti: Feet Feet Feel
Oona Grimes: When is Now
Five Years Publications: Public Series. FYP-PS-01-05
These New Zines!/Ovi Novi Zinovi! With love from Belgrade
Clay Arlington in London.
Interior Domestic
Ignominious Wank

2013
A day of continual irritation for myself
Joan of Art: The Venice Process
A Promise of Happiness: 20.11.99
Technologies of Romance
Blank Stare, Flat Hollow
Five Years at Sluice Art Fair
Album2
This is Not Public/ Part 2: What do we mean by Public Engagement?
Modern Interiors
A Heap, A Pile, A Mass, A Gathering
Petrol
Ra-Ra Rasputin: The Esoteric Book Disco
General title given by myself: SE Barnet
This is Not Public/ Part 1: What do we mean by Public Engagement?
School of the Damned
Arkham Asylum: Ana María Millán
Five Years: Fragments
Besame Mucho: Alex Schady
Armada: Ian Dawson
Jamie Partridge & Lynton Talbot

2012
Five Years Publications III: A Plotted Affair; Bad Love Poetry Night
Five Years Publications II: School Book Projects
Five Years Publications I: Artists Books Weekend
Height X Width X Depth
Exercises With Five Years - (Im)Possible School Book: As Found
Beta-Local
Left Of Place
Ideas Are Faster
Light And Time
Dead Original
Five Years Talk At La Scatola
Sideshow And Other Stories
Irish Female Artists
A Pigeon, A Kitchen And An Annexe: Sites Of Alternative Publishing
Preliminary Notes For Moving Between Desert And Occupation
Cuntstone & Clown

2011
Z-Depth Buffer
Desk Space
This Is Not A School
House In The Shape Of A Stretcher
Instantly Interruptible
00:00:00.
Picture Theory
Cream Guillotine
The Weaklings
Posters Fo’ Sho'
Ladies Of The Press* presents…
Evolution Of The Meringue
Closer Encounters Of The Third Kind
Re Infecta
Flying Stickers
Slipstream

2010
So Much For Free School, Etc: A Draft Publication
Album: A Group Show
Photographs: From The Particular To The Particular
What I Thought At The Time
Fairyland
Omnicasus
Good Tidings
The Muttering Cavern Of Domestic Delights
Whatever Happened
Lecture Hall. Free School.
Indirections_1
Commonism
By Day My Limbs, By Night My Mind
Harry Pye Presents
Bakkar Island
Field Recordingsinter Rites
Love Is A Highway

2009
Extinct
Spacious
Bronzed
Interrupted Correspondence/Vice Versa: Five Years Fragments
Noble Intent
Sontag Montag
Statement
Nature Morte
Andrea Zapp
Ania Seraphin
Free Association
Ailleurs
Yes. Yes. I Know. Free School. I Know.
Line And Light
Skinner’s Room
Does God Live In The No-Fly Zone
That Was A Good Day
Perch

2008
A4 Editions
False Friends
Structures Found Structures Lost
Maskwork
In The Path Of The Most Frightening Storm, And Suffered Terrible Devastation. It Also Shows
Talent Show
Garden Of The Sleep Of Love
Periodical Vol.1 (No.1-4)
Free Show.
Paper
Spitting Distance
Glitch
I Don’t Think I Can Fit It In
Rules To Hold Onto…
Porridge Wogs

2007
Three Studies: Pee Wee. Meat. Billy.
Present State
Model As You Would Carve
Crisis And Finance And Nudes
Peroiodical Vol.1, No.1.
DY-66
Peer Esteem
O
Hotshots
Now And Then
Our Period.
Untitled Sequence 1998-2007
Romantic Anti-Humanism
Paintings And Sculptures
Il Cittadino
Rochelle Fry
Visitors
You First
Huis Clos
Psychogeometry V
There Is No Future For Us Now
Art For Everyone
Goo Goo Muck

2006
Frenzy: L’art Décoratif D’aujourd Hui (at Metropole Galleries, Folkestone)

2003
Spacemen (MOT)
Club Esther
Suicide Is Painful

2002
Xmas/ There Is Plenty of Sunshine in Summer/ Silence and Darkness/ Tender Prey/ Independent State-Estado Independiente_Stoned Chicks_Sexperimental Weekenders Ticklish CINEMATHEQUE/ Crack Whore/ Manual: Christoph Girardet and Matthias Müller/ Esther Planas/ The Way Things Are Not/ Fata Morgana/ Graham Dolphin/ Edward Dorrian: Paints a Picture/ CULPTR/ Richard Crow/ Eat Quicksilver Shit Quicksand/ Or Not

2001
The Difference Between You & Us/ I’m Wary/ Contemporary Fairy Tales/ Peter Lloyd Lewis/ Dead-wall Reverie/ Sex Abroad/ Michelle Deignan/ Drop-out/ Issed/ Manual/ Self-service_ Painting/ Sinisa Savic/ Ticklish/

2000
Starring/ The Guests protected their ankles with cardboard boxes/ Richard Crow/ The Red Room/ Rank Cheeseboard/ Failure/ Jeremy Deadman/ Denise Hawrysio/ Sara Woodfine/ Jeremy Akerman/ Self-Service/ Sleight of Hand/ Mathew Luck Galpin/ Susan Morris/ Dark Pop

1999
Taking in the Air/ A Promise of Happiness/ Marion Kalmus and Naomi Salaman/ Corporate Actions/ The Blood Show/ A Thousand Moonlit Kisses/ Own Time/ Now Look Where I Am/ Lapsus/ What is Love?

1998
Silent Movies/ What is a Photograph?

additional information: 

Awarded Charity Status (NO. 1151017)

bibliography: 

Five Years: Fragments
ISBN 978-1-903724-09-5
Francis Summers,Sally Morfill and Karen Wood, Marc Hulson and Paul Curran, Rochelle Fry with Squares and Triangles, Esther Planas with Tuesday-029, Edward Dorrian and Amy Todman
Utopographies:
Evaluation, Consensus and Location
Experts From Beyond (A Script).
FYP-PS-06
ISBN 978-1-903724-16-3

This is not Public.
FYP-PS-05
ISBN 978-1-903724-11-8
Christine Sullivan and Rob Flint, Jonathan Trayner, Charlotte Knox-Williams, Neil Ferguson, Sheila Buckley, Karen Turner, Wendy Scott and Sassa Nikolakouli, Andrew Cooper, Kim Wan, Edward Dorrian, John Greene, Joe Duggan

Ignominious Wank.
FYP-PS-04
ISBN 978-1-903724-12-5
Nicola Harlow, Trish Bould, Amy Todman, Susan Wood, Kathy Oldridge, Melanie Rose, Charlotte Knox-Williams and Edward Dorrian

(Im)Possible School Book. As Found.
FYP-PS-03
ISBN 978-1-903724-010-1
Ace&Lion (Sharon Bennett, Metod Blejec & Scott Schwager); Alain Ayers; Amateurist Network; Anna Lucas; Anna Mortimer; Annie Davey; Bella Kerr; Calum F Kerr; Catalog; Charlotte Knox-Williams & Jennifer Jarman; Chiara Mu; Collaborative Art (Froso Papadimitriou & Jonathan Bradbury); Dagmar I Glausmitzer-Smith; Damien O’connell & John Greene; Deborah Ridley; Edward Dorrian; Eitan Buchalter; Esther Planas; Esther Windsor; Francesca Cho; Gary Kempston; Hadas Kedar; Ilene Berman; James Hutchinson; J. Dunseath; Jessica Potter; Jillian Knipe; Jonathan Trayner; Julia Moore; Kim Wan; Lee Campbell; Leslie Barson; Matthew Lee Knowles; Mirja Koponen; Neil Ferguson; Patrick Loan; Rachel Cattle; SE Barnet; Sharon Gal; Simon Wells & Max Mosscrop; Steve Richards; Sylvie Vandenhoucke & Kris Van Dessel; Tansy Spinks; Teachers Consult 2012 (Joanna Wilkinson, Kate Jackson, Amy Mckelvie, Linda Scott & Effie Coe); Tom Estes; Walter Van Rÿn

This Is Not a School. Book.
FYP-PS-02
ISBN 978-1-903724-07-1
Alexander Costello, Mark Harvey, Lee Campbell, Duncan McAfee, Mike Chavez-Dawson, Alex Baker, Mike Ryder and Sarah Bowker-Jones; Lucy Cash and Theron Schmidt; Steven Eastwood & Anya Lewin; Kevin Molin & Zoe Olaru; Dagmar I Glausnitzer-Smith and Francesca Cho; Gary Kempston; Sharon Gal, Frances Morgan, Andie Brown, Sophie Cooper, Suke Driver and Aurelia McGlynn-Richon; Free School & Communist Gallery;Deborah Ridley; Patrick Loan; Chloe Cooper, Phoebe Davies & Louisa Martin; Heidi Wigmore & Sarah Buckle; Ana Cavic, Renée O’Drobinak (Ladies of the Press*; Ella Clocksin, Stephen Davies, Nicola Harlow, Ben Jenkins, Charlotte Knox-Williams, Kathy Oldridge, David Podger, Amy Todman, Marius Von Brasch; Esther Windsor; Pier Vegner Tosta; CATALOG; Amateurist Network; Charlotte Knox-Williams & Jennifer Jarman, Amy Todman, Melanie Rose; Damien O’Connell & John Greene; Naoise McGeer, Alfonso Areses; Alice Bradshaw; Annie Davey; Critical Practice; Steve Richards; Rachel Cattle; Paul Tarragó; Leslie Barson; Neil Ferguson; David Berridge; Jillian Knipe; Christine Sullivan & Rob Flint; Kim Wan; Calum F. Kerr; Jessie Bond & Elizabeth Graham

So Much For Free School, Etc.
FYP-PS-01
ISBN 978-1-903724-05-7
Alex Schady, Alice Cooper, Antje Hildebrandt, Avaes Mohammad, Bryony Kate Gillard, Carly Juneau, Charlotte Knox-Williams, Christine Sullivan & Rob Flint, David Berridge, Karen Di Franco/Concrete Radio, Marit Muenzberg, Tamarin Norwood, Mary Paterson, Edward Dorrian, Elliott Harris (Neva Elliott & Lynn Harris) Fay Nicolson & Charles Ogilvie, Francis Summers, Froso Papadimitriou, Geopolyphonies Collective Hamja Ahsan, Johanna Linsley, Jonathan Trayner (Free School), Kate Wiggs & Joanna Austin, Kathryn Faulkner, Ladies Of The Press* (Ana Cavic & Rénee O’Drobinak), Larry Achiampong, Ben Youngman, Roi Driscoll, Tefltastic: Lee Campbell Plus Guests: Phil Harris, Adrian Lee, Patrick Loan, Heidi Wigmore, Leslie Safran: The Otherwise Club, Luke Williams, Matthew Mackisack, Michael Schuller, Neil Ferguson, Nela Milic, Nicolas Vass, Oliver Guy-Watkins, Patricia Vidal Delgado, Patrick Loan, Paul Tarragó, Pier Vegner Tosta, Rachel Cattle, Rebecca Birch, Sandra Erbacher, Seth Guy, Steve Richards Tele-Geto: John Cussans, Vasileios Kantas & Jo Bradshaw

ISBN 978-1-903724-00-2
Failure/ Rank Cheeseboard
Paul Whittaker, Edward Dorrian/ Fergal Stapleton, Neil Ferguson

ISBN 978-1-903724-01-9
False Friends
Clive Hodgson, Susan Morris

ISBN 978-1-903724-02-6
Whatever Happened
Dierdre O’Dwyer

ISBN 978-1-903724-03-3
Sontag Montag:
Drawings,recordings and diagrams by Susan Morris
with essays by Ed Krcma, Margaret Iversen and Briony Fer edited by Deirdre O’Dwyer

ISBN 978-1-903724-04-0
Sandnes Sangen
Louisa Minkin

The Blood Show
Liz Arnold, Kathe Burkhart, David Burrows, Mark Harris, Peter Lloyd Lewis, Markus Muntean & Adi Rosenblum, Henry Rogers. Edited by Peter Lloyd Lewis

Tender Prey
Francesco Clemente, Michael Curran, Marriette Renssen, Esther Planas, Alex Schady, Marc Hulson, Gillian Carnegie, Arno Nollen, Paul De Reus, Cathy de Monchaux, Pierre Klossowski, Tariq Alvi, Nick Cave, Bea Stienstra, Paul Kooiker, David Haines, Thom Puckey, Roma Pas, Stefan Banz, Susan Morris, Reinjelle Tjerpstra, Baz Meerman

Dark Star Vols 1-4
Esther Planas

Frenzy- L’Art D’Art Décoratif D’Aujourd’Hui
Fiona Curran, Mark R Taylor, Esther Planas, Mike Watson, Charlotte Bonham-Carter, Susan Morris

Five Years Periodical Vols 1-5
Various

Structures Found, Structures Lost Videos By
Paul B Davis, Steve Klee, Abbe Leigh Fletcher

Porridge Wogs
Rabiya Choudry, Andrew Gilbert, Astrid Sourkova

Talent Show
Patricia Ellis

Experimental Light in the Death Cult
Michael Salerno

Underwood
Various

Welcome to the Secret Lands and Secret Worlds
-

El Diablo en la Pintura
-

Dahmer Daily Digest
-

Untitled Sequence
Marc Hulson

Now Look Where I am: Failure, Time, Aporia
Paul Whittaker, Edward Dorrian

Bounty feeds Desert, Desert exhausts Bounty
Louisa Minkin

address: 

66 Regents Studios, Andrews Road
E8 4QN London 51° 32' 7.8" N, 0° 3' 36.8748" W
GB

usage: 

previous usage of the site: 

number of studios: 

number of exhibition/project spaces: 

types of studios: 

  • private

established: 

1998

last known status of the project: 

last known status of the site: 

RAUMX LOndon

RAUMX- London

about: 

From mid 2013 Martina Geccelli has set up this art and architecture project space within her own studio in Kentish Town, London.

Part of the concept is that selected artists, or architects can introduce their work to a smaller, interested audience . RAUMX provides an open, intimate platform, outside of the commercial setting of a gallery. Beside presenting work to the public the space offers opportunities for an active exchange in form of talks and discussions and more intimate gatherings.

how is/was it run/structured ?: 

what is/was it's legal status ?: 

  • other

how is/was it funded ?: 

address: 

London Kentish Town
185 Queens Crescent
NW5 4DS London 51° 33' 2.6604" N, 0° 9' 0.7956" W
GB

total size in sqm/sqft: 

usage: 

previous usage of the site: 

number of studios: 

number of exhibition/project spaces: 

types of studios: 

  • private

established: 

2013

vacated: 

2013

last known status of the project: 

last known status of the site: 

Acme Studios: Devons Road

David Panton and Jonathan Harvey outside 117 Devons Road, E3 one of the first two Acme houses and first office. Photo: Claire Smith (1974)

about: 

The first properties to be managed by Acme Studios were 105 and 117 Devons Road in Bow, E3, in the heart of London’s East End. These redundant and semi-derelict Victorian shops, licensed to Acme in 1973 by the Greater London Council (for 21 months), marked the beginnings of an organisation which would become the largest provider of working and living space for artists in the United Kingdom. As part of the licence artists were required to carry out extensive repairs in exchange for very low rents (£3 per week) and agreement to hand properties back when required for demolition.

from: 'Artists in East London'
online available at: www.acme.org.uk/download.php?pdf=149
(accessed September 2013)

'Groundbreaking times: the first ten years of Acme' - Jonathan Harvey

Setting up Acme Studios in 1972 was driven by necessity. As a group of recent graduates coming out of Reading University Fine Art Department, it was about thinking: ‘We have to get to London, London is where it’s happening. How on earth does one afford to have a space to live and work there?’

At that time, there were a lot of boarded-up, unused premises in east London – one or two of our contemporaries had made approaches to the Greater London Council (GLC) and had successfully negotiated an odd shop here or an old house there. This alerted us to the possibility and we went direct to the GLC and said: ‘Look, there’s all this empty property that’s just sitting there unused.’ Much of it was destined for major housing redevelopment which was delayed because of the economic down-turn. The GLC responded: ‘Well, you’ve got two alternatives, one is to squat, but we’ll get you out, and the other is to go away and form a housing association.'

It took seven people and ten pounds each to register as a charitable housing association. The GLC transferred two properties in Bow on Devons Road – I had one and my co-founder David Panton had the other. Each had a 21-month life, no utilities, and were in appalling condition, but when you’ve got no money and there’s a lot of space – even though it was short term – we made very good use of them.

I think the GLC was impressed by how quickly we were able to put the properties back into use, so it started to transfer more. We needed five houses for the seven founder members, but when we were offered more and more property, we said: ‘We know so many artists that could benefit from this.’

There was no intention to start an organisation – we sort of stumbled into it – but within a year we were managing about 90 houses and realised this was becoming more than a full-time job. There is still a huge challenge to be able to live in London and practice as an artist. Affording somewhere to live is challenging enough, but then to have somewhere to work – that challenge, or demand, has never gone away. (...)

from: 'Groundbreaking times: the first ten years of Acme'
online available at: www.new.a-n.co.uk/news/single/groundbreaking-times-the-first-ten-years-o...
(accessed September 2013)

how is/was it run/structured ?: 

what is/was it's legal status ?: 

  • charity

how is/was it funded ?: 

history of the site: 

Devons Road:
Earlier called Bromley Lane, the road may have gained its present name from former landowner Thomas Devon. Like most of Bromley-​​by-​​Bow, this area began to fill with warehouses and working-​​class housing from the 1820s and became progressively poorer and more overcrowded as the 19th century wore on. Using funds generated by the sale of the City church of All Hallows Staining, the Grocers’ Company paid for the construction of All Hallows Bow in 1873–4. The church was wrecked by a bomb during the Blitz and was afterwards rebuilt in a style inspired by Early Christian archi­tecture, utilising surviving parts of the original core. The interior has since been subdivided to introduce a multi-​​functional hall. Municipal slum clearance and flat-​​building trans­formed the vicinity of Devons Road over the course of the 20th century – without signi­ficantly improving its aesthetics – but a handful of Victorian structures have survived. Spratt’s Warehouse, beside the railway track in Violet Road, is regarded as one of Britain’s finest industrial buildings. Built in 1899 to make and store pet food and biscuits, it has now been converted into flats and offices.

from: 'Devons Road, Tower Hamlets'
online available at: www.hidden-london.com/gazetteer/devons-road/
(accessed September 2013)

address: 

105 + 117 Devons Road
E3 3QX London 51° 31' 15.5964" N, 0° 1' 9.1524" W
GB

usage: 

previous usage of the site: 

number of studios: 

types of studios: 

  • private

established: 

1973

vacated: 

1975

last known status of the project: 

last known status of the site: 

Dilston Studio

Dilston Grove, Concrete Quarterly, 1974, Church into Studio (photo: Trevor Jones)

about: 

Dilston Grove, the name of a sleepy back road in the southwest corner of Southwark Park, London SE16 also marks the focal point at one end of the street, a building of concrete construction built and blessed as Clare College Mission Church in 1911. The iconic cross, perched on the roof, denotes the building's former use; its continued presence maintains a symbolic reference to its role as a sanctuary for an ever changing flock.

The history and meaning of the building was reshaped in 1969 by a group of artists, graduates from the Royal College of Art, who shared the inner sanctuary as a studio/workshop. With the metamorphosis of ‘church into studio’ came the renaming of the building to Dilston Studio. The interior became a lofty, empty, rectangular shell, an open work space for several artists though ‘there are a few clues as to its previous use - a raised area at the north end where the altar used to be, a balcony where the organist once sat....’

In 1978 the local authority had other plans for the building and the artists vacated. For the following twenty-one years the future of Dilston Studio remained in the balance; pigeons took vacant possession. In 1999 the Bermondsey Artists' Group resumed the artistic link with the 70s securing a short lease from Southwark Council for the Café Gallery. Dilston Studio has now become known as Dilston Grove.

from: 'Artists in East London'
online available at: www.acme.org.uk/download.php?pdf=149
(accessed September 2013)

how is/was it run/structured ?: 

what is/was it's legal status ?: 

  • unincorporated organisation

how is/was it funded ?: 

history of the site: 

Dilston Grove is the former Clare College Mission Church on the Southwest corner of Southwark Park and is Grade II listed. Designed by architects Sir John Simpson and Maxwell Ayrton, it was built in 1911 and is one of the earliest examples of poured concrete construction.

address: 

Southwark Park Abbeyfield Rd
SE16 London 51° 29' 30.4836" N, 0° 3' 15.8724" W
GB

usage: 

previous usage of the site: 

number of studios: 

types of studios: 

  • open plan, private

established: 

1969

vacated: 

1978

last known status of the project: 

last known status of the site: 

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