Schneeeule is a project space based in Berlin and run by Matti Bergmann and Silke Nowak. Founded in 2012, Schneeeule is a space for exhibitions, screenings and lectures with varying locations.

The venue for the first couple events was a salesroom in the Berlin Carré, located at Alexanderplatz in Berlin-Mitte. Ever since various venues were used for the following events – such as a garden, a bar or a cultural center.

In order to meet a large scope of different approaches towards exhibition making, Schneeeule is dedicated to collaboration, and thus invites different artists as well as curators.

Another objective of Schneeeule is to present concealed positions, especially female artists, by making them visible and give them space for a public debate. Showing Verena Pfisterer’s work for instance, led to an increased attention of her artistic position within the contemporary art context. Further exhibitions and screenings featured paintings, drawings and films by Verena Schirz-Jahn, Coleen Fitzgibbon and Annabel Nicolson.

“On the hill opposite are some great stone quarries. It is as though something tore the hill open and said “Here, you shall see not only smooth but the hard strong stuff that is inside too”’ Olive Schreiner

Haarlem Artspace is a multi functional artist-led space whose aim is to encourage practice and research into contemporary art created in a rural environment.
It offers dedicated studios for artists and writers in the inspiring and historic Grade II* listed Haarlem Mill building, situated in the town of Wirksworth, Derbyshire. There will also be flexible public spaces that will present an engaging and ambitious program of events and activities relating to landscape, the environment and ecology.

We’re looking for ambitious artists and writers, to further and develop their practices at Haarlem. They will be invited to participate in a program of exhibitions and events, which will explore and develop links with the Wirksworth Festival and the wider creative community. We will develop commissions, events, and a residency program, which will have on-going links with other studio groups, both national and international.Artists will be supported in the development of new work via a group critique program, optional tutoring, funding advice and support, alongside online representation.
Studio spaces are by application. To apply submit an expression of interest outlining why you’d like a space at Haarlem and how you would use it, include an artist statement, images and supporting links to: studios@haarlemartspace.co.uk

The Peak District is an area of outstanding natural beauty in the heart of England, and North Derbyshire. The Haarlem Mill building was the first ever coal powered mill significant in the Industrial revolution. Historic literary links include George Elliot, D.H.Lawrence, Daniel Defoe, Olive Schreiner, Eleanor Marx, and Friedrich Engels. Wirksworth is the setting for George Elliots fictional ‘Mill on the Floss’. Being restored to English Heritage standards, Haarlem Mill is a beautiful and inspiring place to work and develop artistic ideas
www.haarlemartspace.co.uk
studios@haarlemartspace.co.uk

KARST is a non-profit, artist-led initiative in Plymouth focused on providing studio space and the exposure of international contemporary arts, offering innovative curatorial projects a test-bed for gallery presentation. KARST was founded in 2012 and functions as a venue for contemporary arts through selected and guest-curated projects working with partner organisations, collaborative groups and individuals.

"(...) The first part of this organisation’s name comes from its previous location – the Woodmill building, rundown former council offices in Bermondsey, southeast London, that, from 2009 to 2011, was home to a hundred artists, designers and filmmakers. (...)

During a short period of itinerancy, enforced by the end of the tenancy, the six original studio holders – Naomi Pearce, Stuart Middleton, Anna Baker, Angharad E. P. Williams, Richard Sides and Alastair Frazer – in liaison with their newly founded board of trustees spent many hours working out what the Woodmill should be (as well as searching for a new location – no former primary school, warehouse or empty retail unit was left unturned). The upshot of this was a decision to build the idea of constant flux into the organisation’s character. This resolution was not just a pragmatic one, but also one that resonated with the Woodmill’s desire for perpetual reinvention, for avoiding its own establishment and for eschewing any desire to become an institution with permanent footings. Happily ensconced, for now, in a former doctor’s surgery (which supplies the ‘GP’ part of the new name: ‘general practice’) – in which the old waiting room doubles as a shared studio and temporary exhibition and screening space (dinners, gigs and workshops are on the cards), with each of the doctor’s offices becoming private work digs, including a gratis residency studio – the Woodmill will move on again after one year. And it will voluntarily repeat this annual migration for the foreseeable future. Each time it moves, the Woodmill will evolve: it may become more popular; it will engage with more people; it may get written about more; the gallery footfall may increase; the space it occupies may be larger; it may move somewhere smaller. But by the nature of its instability, it won’t put down roots. It won’t be forced into an upward trajectory. Which, in a world dominated by the socioeconomic buzzwords of ‘growth’ and ‘development’, where artists are categorised as failures if they don’t move from the ‘emerging’ label to ‘midcareer’ or ‘established’, is a pretty grand ideal."

Oliver Basciano (2012), "Off-Space no 9: The Woodmill, London - Entering the Establishment"
online available at: http://artreview.com/features/off_space_no_9_woodmill_london/
(accessed 13 Sep 2013)