Through its partnership with The People’s Kitchen, the System Gallery will hand-out disposable cameras to people living in Newcastle without homes. Throughout 2017, the participants of the project are encouraged to use the cameras to document their lives and capture everyday moments. A selection of these photographs will then be developed, printed and framed to form an exhibition to be held at the System Gallery in late 2017, this exhibition will then travel throughout several venues in Newcastle.

The aim of INVISIBLE is to help people affected by homelessness to reconnect with the wider society through photography. INVISIBLE seeks to make their lives visible, only shown from their own point of view.

David Dale Gallery and Studios is a non-profit contemporary art space based in the east end of Glasgow.

Established in 2009, David Dale Gallery and Studios promotes pioneering contemporary visual art through the commissioning and year round programming of new work and projects by early career international and UK based artists. Maintaining a commitment to providing opportunities and supporting the development of artists, curators and writers, David Dale Gallery and Studios intend to encourage professional development, education and community participation whilst delivering our core aim of presenting outstanding contemporary visual art. Additionally, the organisation operates an affordable artist studios facility, for the production and development of new work by emerging artists.

Central—Reservation was a temporary project space in Bristol, UK dedicated to the support, production and presentation of contemporary visual arts.

Between March and July 2010, Central—Reservation presented a programme of exhibitions, events and collaborative projects with a backdrop of production in the four studio residencies.
Central—Reservation offered artists and curators the opportunity to present ambitious projects, making use of the current surplus of empty commercial property.
Alongside the core programme, Central—Reservation invited artist led and independent groups from across the UK to propose exhibitions and events to put on in the space.

The former motorcycle showroom is located on Stokes Croft, a main access route into central Bristol. It offered 10,000 sq ft of exhibition and event space over two floors, plus partitioned workspaces for resident artists to test and document work.

Central—Reservation was established by Lucy Drane, Hannah James and Jane Porter, an independent group, each working within key arts organisations in the city. The project developed through their mutual membership of the Spike Island Associates Programme and a shared interest in realising a dynamic new project space in Bristol.

In 1968 the artists Bridget Riley and Peter Sedgley, in search of suitable studio spaces for themselves, seized an opportunity to occupy the ‘Ivory Warehouse’ (known as the ‘I’ Site) in St Katharine Dock, near Tower Bridge, E1. (St Katharine Dock had then been taken over from The Port of London Authority by the Greater London Council.)

In need of support, Riley and Sedgely invited a number of enthusiastic people from diverse backgrounds to create a body of Trustees who all had an active interest in the arts: Tony West, Professor of Law at the University of Reading’s Faculty of Urban & Regional Studies; Irene Worth, an actress, ‘passionately’ interested in the arts; Maurice de Sausmarez, Principal of the Byam Shaw School of Art and Peter Townsend, editor of Studio International. After some initial investigations at the Ministry of Housing and Local Government Professor West had deduced that no provision had been made for artists' studios in London describing this as a paradox: ‘...London is, in a way, the centre of the art world but the artists just cannot find a space to work. We want artists, we need them but, they are left to find their own solution...

The enthusiastic group formed ‘Space Provision, Artistic, Cultural and Educational Ltd., S.P.A.C.E. Ltd'. (abbreviated to S.P.A.C.E.) which was non-profit making. It successfully negotiated a two year lease at low rental for the ‘I’ Site from the GLC.
A friend and supporter of the project, Sir Henry Moore, recalls visiting the site with Riley to assess its suitability as a conducive space for artists to work in: 'The building I was taken into had been derelict since the last war. It had a remarkably, romantic feeling about it.’ Archer suggests that '...the range of this support indicates that the venture was, from the very first, identified as a good thing not only within the narrow confines of the art world, but also for the cultural and economic well-being of the community at large'.

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