other

Hickster Projects

Hickster Projects

about: 

Hickster Projects is a small experimental platform set up by Sue Kennington, It takes place in a remote space near Siena , Italy - where there is a growing audience of international art collectors, who would be unlikely to visit shows on the periphery of western urban centres and thus to showcase some of this exciting emerging artistic talent to a new and international audience. After showcasing the work at Hickster Projects, in the summer, the show then hopes to migrate to an urban ‘base’ – and find another audience.

how is/was it run/structured ?: 

what is/was it's legal status ?: 

  • other

how is/was it funded ?: 

history of the site: 

abandoned olive farm

exhibitions, events, workshops: 

'Zappatore'

address: 

loc. Poggio Boldrini
53020 San Giovanni d'Asso , SI 43° 9' 22.3344" N, 11° 34' 18.984" E
IT

total size in sqm/sqft: 

usage: 

previous usage of the site: 

number of exhibition/project spaces: 

established: 

2015

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: 

Islington Mill

about: 

Islington Mill is a leading independent UK arts organisation based in Salford, in the NW England. Structured around an organic network of independent artists, Islington Mill runs innovative inter-disciplinary public arts programmes and artist residencies alongside studio spaces and an artists’ B&B. Drawing on the radical and subversive creative energy running through its arts activities, Islington Mill also has a reputation for putting on legendary experimental gatherings, events and parties.

Based in the evocative buildings and courtyard of a former Victorian mill, Islington Mill is a unique and inspiring environment where the architecture of industrial Britain is fused with the creative energy of industrious artists at work and at play.

Founded by Bill Campbell in 2000, who bought it after spending four years developing the project and raising the initial finance, Islington Mill is the product of a singular dream to form a network of artists around the shared goal of living and working as freely and creatively as possible.

Like the Hacienda before it, Islington Mill is organised along similar principles inspired by the Situationist movement, an avant-garde European art movement formed in the fifties and sixties that became a prototype of punk. Picking up where the former left off, Islington Mill has a similar focus of creating an open-source environment outside of conventional structures and art traditions that can act as a catalyst for “the creative act” in all its many forms and unlock the inner artist in almost anyone.

Currently run by designer Bill Campbell, musician Mark Carlin and visual artist Maurice Carlin, Islington Mill is a non-hierarchical organisation that makes no distinction between work and play, outcome and process, chaos and control. Operating outside a commercial, profit-led agenda, it is a genuinely independent arts organisation that puts nurturing, supporting and inspiring creativity, especially new and emerging talent, at the heart of everything it does.

Forged in the spirit of D-I-Y, it recognises risk-taking and experimentalism in a non-judgmental, non-pressured environment as integral to art practice and is able to offer artists an unusual level of creative freedom in an increasingly market-led cultural landscape.

Although Islington Mill is predominantly focussed around the physical space in Salford, it recently organised its first “mass residency” with thirty artists in Ibiza and now plans to take the spirit of Islington Mill on tour elsewhere, building on existing links starting this October with an exchange with Flux Factory NYC.

Not content with stopping at these achievements, Islington Mill is continuously seeking to progress in its mission to inspire, educate and develop artists in their careers in an ever-changing social and cultural landscape.

Islington Mill was very pleased to have recieved its first ever ACE programme funding in the history of its organisation earlier in 2013, which will be used towards testing new strategies for residencies and developing its marketing and organisational structure.

As part of this forward-looking strategy, Islington Mill is excited about the opportunity to develop it's 6th floor space into further B&B style bedrooms and its 5th floor space into a dedicated artist residency space.

However further funding is still needed for Islington Mill to realise its full potential and so it is constantly exploring funding sources and income streams that will allow it to maintain its unique vision for the arts into the future.

To this end, Islington Mill has also secured Arts Council Catalyst funding, in consortium with the Chinese Arts Centre, this fund helps arts organisations access private funding by exploring how relationships can be formed with patrons and other independent sources.

Islington Mill is now to an exciting future that is global and ambitious. With the right funding in place, it hopes to be responsible for sending local artists out onto international residencies, while receiving incoming international artists in order to realise its full potential as a dynamic international arts hub and creative interchange.

how is/was it run/structured ?: 

what is/was it's legal status ?: 

  • other

how is/was it funded ?: 

address: 

James Street
M3 5HW Salford 53° 28' 54.9156" N, 2° 15' 47.412" W
GB

usage: 

previous usage of the site: 

established: 

2000

last known status of the project: 

last known status of the site: 

Lewisham Arthouse

about: 

Keeping it real since 1994.
Artist-led, community - based.
Supporting creativity and innovation in visual arts and beyond.

how is/was it run/structured ?: 

what is/was it's legal status ?: 

  • charity

how is/was it funded ?: 

history of the site: 

1914 - 1991
Amazing Library
Gift from Andrew Carnegie to people of Deptford
ceases as learning / social space due to Tory Government cuts

1991 - 1993
Amazing rave venue
Maintained by Spiral Tribe
ceases as a music / social space due to Tory Government rave laws

1994 - 2015
Amazing arts centre
Maintained by Lewisham Art House co-operative
providing open-access facilities, community resources, learning, visual art and music programmes

2015 - onwards
Amazing arts centre becomes charity
Doing the same as before, but within / as a charity with a 100 year plan

exhibitions, events, workshops: 

lots

additional information: 

Grade II listed (interior / exterior) Historic trees and gardens to rear

address: 

140 Lewisham Way
SE14 6PD London 51° 28' 18.0336" N, 0° 1' 51.186" W
GB

usage: 

previous usage of the site: 

number of studios: 

number of workshops: 

number of exhibition/project spaces: 

types of studios: 

  • open plan, private

types of workshops: 

established: 

1991

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: 

Generator Projects

about: 

Generator is a Dundee-based organisation established in 1996. The aims of the organisation are to generate creative practices across Dundee through providing sustained support towards creativity in all its diversity and a varied programme of exhibitions and events.

Alongside the primary aim of being collectively held by those who wish to engage and support the continuation of the organisation, Generator hosts a project and exhibition space better known as Generator Projects. This space was established to allow creative practitioners, developing experimental, critical and autonomous work, the opportunity to exhibit. It is facilitated by the Generator committee, a rolling collective of volunteers, who dedicate two years of their time to ensure the continuation of this programmed space and the broader aspects of the organisation.

Generator Projects is also home to the developing Member Space. Initiated during the 2013 Member Show, this hospitable space is being created for dedicated member-led activity. The space will continue to be developed over the coming year in response to the voiced needs of Generator members. This could include access to resources and a neutral space for peer-learning and critical discourse through the programming of responsive talks, events and artworks to the Generator programme and wider interests and concerns of the Generator members.

how is/was it run/structured ?: 

what is/was it's legal status ?: 

  • charity

how is/was it funded ?: 

address: 

25/26 Mid Wynd Industrial Estate
DD1 4JG. Dundee 56° 27' 24.426" N, 2° 59' 19.9176" W
GB

total size in sqm/sqft: 

usage: 

previous usage of the site: 

number of exhibition/project spaces: 

established: 

1996

last known status of the project: 

last known status of the site: 

Rhubaba

about: 

Rhubaba Gallery and Studio is an artist-run organisation in Edinburgh that provides studio space for currently nineteen artists and an annual programme of exhibitions and events.

Rhubaba was founded in 2009 as a communal studio and project space. Established in response to a perceived gap in appropriate studio provision for recent graduates and through the desire to create a space dedicated to both the production and presentation of contemporary art, Rhubaba initially housed ten recent graduates from Edinburgh College of Art. During our first year we organised a series of exhibitions in temporary spaces around the city as well as with host venues further afield.

Rhubaba has continued to develop the programme and moved to Leith in 2010 to accommodate more studios and a permanent gallery space.

We are committed to generating a supportive workspace and a dynamic platform for local and international artists. Rhubaba aims to give early-career artists the opportunity to produce new work in a discursive environment, work collaboratively with other artist-led initiatives and explore wider debates in contemporary art, bringing exciting and challenging works to Scotland.

how is/was it run/structured ?: 

what is/was it's legal status ?: 

  • community interest company

how is/was it funded ?: 

exhibitions, events, workshops: 

Exhibitions include solo-shows by Ed Atkins, James Clarkson and Hannah James; groups shows and events with works by Nathalie De-Briey, Patrick Graf, Alex Gross, Rebecca Kressley, Ewan Sinclair, and collaborative projects with David Dale Gallery and Studios, Glasgow, Central Reservation, Bristol, Duchy Gallery, Glasgow, Intercity Mainline, London, Lombard Method, Birmingham and Outpost Gallery, Norwich.

address: 

25 Arthur Street
EH6 5DA Edinburgh 55° 57' 55.3104" N, 3° 10' 38.046" W
GB

usage: 

previous usage of the site: 

number of studios: 

number of exhibition/project spaces: 

types of workshops: 

established: 

2009

last known status of the project: 

last known status of the site: 

City Racing

City Racing - The Life and Times of an Artist-Run Gallery, London: Black Dog Publishing (book cover)

about: 

City Racing was an artist-run space in Kennington, South London which was active between 1988 and 1998. It was a cooperative by five artists Matt Hale, Paul Noble, John Burgess, Keith Coventry and Peter Owen. They set up the gallery in a former betting shop near the Oval cricket ground, hence the derivation of the gallery name. City Racing became an important and renowned exhibition space; its openings provided a networking opportunity for many artists.

In its later years, City Racing was accepted to some extent by the art establishment, and was viewed by some as a route for artists to other more commercial and established galleries. It was featured in Time Out and City Limits as part of a new alternative art scene happening in London. This led to a benefit for the gallery organised by Karsten Schubert. David Burrows wrote that "in one sense, City Racing refused to be marginalised from the mainstream and had conventional career aspirations.
[source: Wikipedia.org]

City Racing acted as both a social and cultural barometer, charting the various shifts in British art throughout the 1990's. Its legacy provides a useful counterpoint to the widely mediated myth of the 'YBA'. City Racing both prioritised and privileged artists' intentions, giving crucial support and exposure at an early stage in the careers of many artists who would later achieve both national and international acclaim.
[source: undo.net]

how is/was it run/structured ?: 

what is/was it's legal status ?: 

  • co-operative

how is/was it funded ?: 

history of the site: 

bookmaker / bookie / betting shop

exhibitions, events, workshops: 

City Racing featured exhibitions by many artists who went on to find fame including Sarah Lucas, Fiona Banner, Ceal Floyer, Gillian Wearing and Martin Creed. In 2001 the artists were re-united in a retrospective of the gallery at the ICA.

bibliography: 

Burgess, J.; Coventry, K.; Hale, M.; Noble, P.; Owen P. (2002), City Racing: The Life and Times of an Artist-Run Gallery, London: Black Dog Publishing

address: 

Kennington Oval
SE11 5SS London 51° 28' 58.1556" N, 0° 6' 54.6696" W
GB

total size in sqm/sqft: 

usage: 

previous usage of the site: 

number of exhibition/project spaces: 

established: 

1988

vacated: 

1998

last known status of the project: 

last known status of the site: 

Pages

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