Artiq Annual Volume 2
2023/24
Artiq Annual Volume 2
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Editor's note
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Living up to Legacy Speaking to the creative and design teams behind Aviva Studios, home of Factory International
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4
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Freedom in the Finite
The Future is Fatoş
A conversation with artists Cyrus Mahboubian and Rebecca Newnham
Interview with writer and curator Fatoş Üstek about fairness in the arts
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For What it’s Worth
Ones to Watch
Exploring the value of art beyond ownership
Four recent graduates that are pushing the boundaries of traditional expression
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Monuments of Meaning
Building a Better Future
Phineas Harper looks at art that goes against the grain of capitalism and commodification
Interview with Grosvenor’s Lucy Puddle about creating inclusive spaces
Contents
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86
A 21st Century Approach to Funding the Arts
Un-level Playing Fields
Amanda Parker re-imagines a more equitable future of arts funding
Three trailblazing organisations that are paving the way for future talent
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On Creativity
Artiq Asks
George Bird on the history of research into the psychology of creativity
Get to know renowned interior designer Martin Brudnizki
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Nostalgic Narratives Interview with artist Adam Bridgland about nostalgia and the visual dynamics of written language
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AI in Creativity: Tool or Collaborator? The influence, apprehension and ethics surrounding the rise of artificial intelligence in the creative industries
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Crafting Belonging
A Curator's Take
Interview with artist Studio Lenca about documenting the undocumented
The benefits of artists and designers collaborating creatively
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Artiq Annual Volume 2
Editor’s Welcome to Volume 2 of Artiq Annual! This journal is a testament to the power of creativity and spotlights individuals and businesses that, like us, are creating impact with culture. For the past (almost) 15 years, Artiq's mission has been to showcase the intrinsic value of creative work and how it builds the foundation for both the economy and society at large. Our strategy has focused on intersectoral partnerships, putting the power of contemporary art to play outside traditional exhibition spaces. The aim has always been to reshape the narrative of creativity in a way that resonates across industries and, in so doing, open up new funding routes to the arts, paving the way for a more resilient and sustainable sector. The relationship between art and corporate patronage, particularly in the wake of years marked by funding cuts, is an indispensable lifeline for our industry. Yes, arts organisations need to be cautious about who they work with, but with overcautiousness comes the risk of missing out entirely. When done with shared values and intent, the potential is boundless. This is illustrated by a closer look at Aviva Studios, home of Factory International. The recipient of the largest investment in the arts by the private sector ever seen in Britain, Manchester's new flagship cultural destination is already a shining example of corporate sponsorship done right. We also speak to Grosvenor's Lucy Puddle about the importance of inclusive design and creative partnerships in real estate and explore how businesses can harness the value of art beyond notions of ownership.
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Editor's note
note We also explore new models and ideals around funding. Artiq itself, of course, offers one solution, but getting society to value creativity more requires tackling on all fronts: Fatoş Üstek tells us about her fight for artists' fair pay and practice; Amanda Parker re-imagines a 21st century approach to funding and Phineas Harper examines art that goes against the grain of capitalism and commodification (and what we can all learn from it). 2024 will be the biggest election year in history. For the UK, our next government has a major opportunity to recognise as part of its legacy the importance of creative education, the value of creative careers, and the vital role creativity plays in defining generations, driving innovation, and inspiring change. So, from the studios of four recent graduates and glorious interiors to harnessing AI as a collaborator and exploring the psychology of the creative mind, we hope this journal demonstrates that creativity can be visual art and storytelling; it is also progress and growth.
Patrick McCrae, co-founder and CEO at Artiq
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Living up to Legacy
Aviva Studios is embedded in Mancunian life. A cultural space built by and for the city, Factory International takes its name from Factory Records - the local record label behind Joy Division, New Order and the Haçienda. Speaking to the creative and design teams behind the new space, we travel the road that led to Aviva Studios, home of Factory International. 8
Living up to Legacy
Factory International’s mission is clear: invent
Festival has been a long-standing endeavour.
tomorrow together. A chimeric combination
Now, the spirit of the festival has been contained
of music, dance, performance, theatre,
within a new, dynamic, purpose-built home.
exhibitions, gaming and more, the Manchester-
Aviva Studios, located alongside the River
based arts organisation have long championed
Irwell and Science and Industry Museum, opens
the importance of cross-disciplinary arts
a new range of possibilities for Manchester.
programming, bringing each strand of cultural
With a new building, new programme and new
production under their wing. Running
direction, Aviva Studios establishes itself as a
biannually, the Manchester International
game-changer.
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In the heart of Manchester’s St John
This curatorial perspective shift comes during
neighbourhood, Aviva Studios spans 13,350 sq
the early years of Level Up, Arts Council
meters, housing a 1600-seat theatre and open
England’s endeavour to cut £50m from London-
performance space capable of holding 5,000.
based arts organisations, instead pledging the
Walls – even ceilings – can be restructured,
funding towards arts organisations outside the
moved, and shifted to fit specific needs of
capital. Aviva Studios sees the largest treasury
both artist and audience. It means Factory
spend on a cultural project since the London-
International can program in a sandbox. From
based Tate Modern in 2000. The message sent
live performance to exhibition, theatre to play,
here is pertinent: why not Manchester?
there is a feeling of infinite potentiality; anything could happen.
Nicholas Serota, Chair of Arts Council England, states the funding body will invest £130m a
Factory International cannot predict where
year in the north of England, with £10m a year
and what the building will move into and have
going to Factory International. The building’s
no interest in doing so. The creative output is
name, Aviva Studios, came alongside £35m from
designed to serve the needs and wants of both
insurance firm Aviva, the largest investment in
local Mancunians and visiting audiences. Open,
the arts by the private sector ever seen in Britain.
adaptable, and accessible, Aviva Studios moves
Aviva act not as silent investor but cultural
in organic tandem with Manchester, responding
facilitator, helping foot the bill on education and
to its needs as and when they arise. There is a
ticketing. “Aviva Studios will help make arts and
distinct breaking here of both the physical and
culture more accessible and inclusive and follows
social barriers between art and viewer, subject
the significant investment Aviva Investors has
and object, performer and public.
already made in Manchester,” Amanda Blanc, Group Chief Executive Officer, Aviva, says.
Aviva Studios comes at a time of increased
Aviva Studios/Factory International traces its
discourse on public funding and the arts.
roots back to two Manchester histories: the
Often seen as “nice to have” luxury, Factory
industrial revolution, and underground music
International see Aviva Studios as a flagship in
culture. Labour and subculture are used both
the fight to defend the arts. Essential, integral,
thematically and graphically to understand the
and pedagogical, the space is dedicated not
journey and legacy of Aviva Studios, a place
just to creativity but affordable ticketing,
built on a philosophy of innovative creative
accessibility, and education. Courses run for
control.
both young people and adults, offering training in creative ventures. A collaborative curatorial
Through activist initiatives such as the Kill
approach sees the people of Manchester taking
the Bill campaign and Freedom to Party,
a leading role in programming talks, debates,
ravers implemented shifts within the political
and workshops. Partnerships with pre-
landscape, echoing the work laid a decade earlier
established local organisations see the space
during the miners’ strike. These contexts —
attempt to integrate with neighbours in
political, creative, expressive, and Northern
meaningful, long-term ways. It demonstrates a
— all converge on Factory Internationals’
democratisation of the role of a curator; here, the
namesake, the iconic Mancunian record Label
job is shared, malleable to the needs and desires
Factory Records. Factory Records employed a
of Manchester citizens.
unique business principle, providing signed
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Living up to Legacy
Aviva Studios. Photo by Marco Cappelletti, courtesy of OMA and Factory International.
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Artiq Annual Volume 2
artists total control and ownership1. Aviva
North Design’s involvement carries a Mancunian,
Studios continues this legacy through an
Factory Records-informed legacy forward,
emphasis on unscripted creativity with open
building on its history and knowledge. When
calls for collaboration that are posted without a
creating the identity for Factory International/
brief. Factory International hands over control
Aviva Studios, the firm developed a mantra:
to the artist, acting not as surveilling parent but
“Where the art of the future will be made”. This
as supportive facilitator. Culture is not built, but
statement is as relevant for Factory International
grown. Oftentimes we can trace its origins back
as it was for Factory Records, and indeed
like a family tree. Popular culture grows from
Manchester itself. This notion of “looking
the traces and roots of subcultures, a dominant
back to look forward” resonates across North’s
“truth” born from the underground. Embraced
design philosophy, taking centre stage in their
by hipsters, the subculture gains exposure until
collaboration with Factory International. Rooted
eventually achieving mainstream adoption,
in a shared past, the project became a journey
moving away from original contexts to influence
into indelible memories, leaving marks on both
other aspects of culture. The tree grows.
the individual and the cultural landscape.
Hipster adoption becomes societal adaption, transforming the subculture into simply
Crafting a visual identity for Factory
“culture”. But why dissect the evolution of a
International presented a challenge; how to
subculture? Because it’s interesting. And because
avoid a predictable homage to the past while
Aviva Studios is a branch on this tree, one fed by
remaining steadfast in a vision rooted in
the cultures that came before.
longevity. Through collaborative efforts a set of values emerged, “wilful” standing out as a key
As the post-industrial landscape of Britain
concept. The unexpected term encapsulated the
underwent a transformative process, Manchester
essence of bridging the past with an unwavering
developed a renewed identity, the demise of the
focus on the future, guiding visual concepts
coal industry coinciding with the emergence
towards a meaningful and distinctly forward-
of UK rave culture. Rave provided an escape
looking direction.
from harsh realities, offering a new realm of expression via music and hardcore dance.
This history-informed design serves as a
Derelict warehouses and abandoned workspaces
reminder that legacies often originate from
became unconventional yet communal homes for
humble beginnings, often without intentional
a newfound sense of community. In Manchester,
foresight to become ingrained. Even when
a once-naïve youth movement transformed into
modest in scale, a legacy has the capacity to
potent force. In answer to “why not Manchester”
embed itself in culture. Over time, it not only
perhaps we can pose the question: how could it
endures but expands, persistently providing
be anywhere else but Manchester?
solutions to the challenges and adapting to the changes we encounter. The tree grows.
Aviva Studios poses an authentic response to
The essence lies in the interplay between the
the regional institution-shaped gap, drawing on
initial, perhaps unassuming, inception and the
the expertise of Peter Saville (Factory Records
sustained, influential growth that resonates,
Alum), Ellen Van Loon of OMA Architects,
offering ongoing responses to an evolving
and Jeremy Coysten, North Partner, Creative
landscape.
Director.
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Living up to Legacy
© North + Peter Saville. Factory International.
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© North + Peter Saville. Factory International.
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Living up to Legacy
“Whether they knew it or not, Factory Records were future focused.’’ Jeremy Coysten, Partner at North Design tells us. “They did what they did because they knew it was good, original and brave, not because they were trying to please. This aligns with the spirit of Factory International and what MIF have been doing since 2007,” he adds. “One of the most attractive things about [Aviva Studios] is that it builds on a past that was also my past,” Jeremy says. “I had memories I wanted to explore and learn more about. The collaboration caused many discussions about the origins of Factory Records and the Haçienda. Wonderful moments that touched so many people. I would like to think that these anecdotes and memories are now a part of Aviva Studios — an invisible essence.” From revolution to raves, activism to art, a legacy lives on within the ever-adapting space of Aviva Studios. Nobody knows what Factory International will become next, which direction their walls will turn. For the minds behind the endeavour, that is exactly the point.
Co-authored by Isaac Huxtable, Curator at Artiq and Sophie Viet-Jacobsen, Creative Designer at Artiq 1. Factory: Manchester from Joy Division to Happy Mondays. 2009. United Kingdom: BBC 4, 16 January 2024. https://www. youtube.com/watch?v=A-lDXeBueRk&ab_ channel=20%2C000LeaguesUnderTheBasss
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Artiq Annual Volume 2
Freedom in the Finite It’s always been the nature of artists to reflect the times in which we live. Molly Coffey speaks to two artists who, in their own ways, have found producing art and cherishing the environment needn’t be at odds.
At first glance, the work of Rebecca Newnham
for a conversation with them last November.
and Cyrus Mahboubian appear vastly different.
We settle into a spot amongst the open-brick
Rebecca, based in the Southwest of England,
archways of Cyrus’s studio, Maison Pan, the
creates faceted glass works, some stretching
once National Gallery vaults turned artist-run
up to seven metres tall. Cyrus, based between
studios and project space, which the British-
London and Oxfordshire, known for his
Iranian artist now co-directs. Amid a variety
contemplative approach to photography, makes
of artworks spanning painting and sculpture,
black-and-white photographs of remote
is an elegant curation of Cyrus’s works hung
landscapes with vintage Polaroid film to create
in his distinctive style. The original black
a timeless, atmospheric aesthetic. Distinct in
and white polaroids sit within wide white
medium and materiality is their art, and yet
mounts and black frames, provoking intrigue
striking parallels can be drawn between their
within the viewer. You must get closer, nose
practices, as I found out, when I sat down
almost touching the glass, to observe the
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Freedom in the Finite
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Artiq Annual Volume 2
landscape captured with a grainy vintage film.
Rebecca There’s no getting away from it -
A masterful eye and not only for that within
making art about the natural world is political.
frame; Cyrus has curated his works with
We’re in a climate emergency, and part of
reverence for both subject and artwork. His
our role as artists is to communicate what we
small prints are given a mystical quality, each
see and know - to keep the story engaging.
piece with space to breath accompanied by the
It is, after all, one of the big stories of our
aroma of scented candles.
time. When I was younger, I did just simply enjoy getting muddy and looking at the plant
Rebecca similarly seeks to capture the
world. The more you know, the more you want
characteristics of the natural world, in her case,
to know, don’t you? I’ve always taken time to
though sculptural glass works. Her faceted
meditate and spending time in nature is a kind
wall works aim to capture her encounters with
of meditation. Our world is so reinforcing and
nature, whilst her free-standing sculptures
allows you to just be. What about you, Cyrus?
abstract scientific ideas such as waves of energy and sound. Through a process of staining,
Cyrus I grew up in London and didn’t visit the
scratching, firing, cutting, and breaking,
countryside as a child. The first time I really
Rebecca creates colourful surfaces made up of
explored nature was at university which was
recycled glass that both reflect and absorb light;
the same time I was getting into photography.
their surface changing as the viewer moves
In Bristol, I could travel ten minutes and have
through the space, blending past with present.
access to the countryside. In the city, there’s a certain pressure, whilst photographing a
This is the first time Rebecca and Cyrus have
landscape, there’s no pressure – it’s very quiet,
met, and their conversation instantly flows
it’s still, it’s slower. These experiences brought
with curiosity for each other’s work. Almost
me so much peace and a sort of happiness
immediately, we establish that walking through
because it was an escape. Over the years,
nature is the main source of inspiration for
embracing a slower environment has become an
both their practices. Their art is an ongoing
important part of my life. I’ve discovered that
response to the elements they encounter, as well
I’m naturally someone who enjoys a slow pace
as the personal, political, and philosophical
and having time to reflect, which is less and
revelations they experience along the way.
less possible today.
Listening to Cyrus and Rebecca speak, I feel an urgent desire to escape the city and into
Molly How do you know when you’ve arrived at
nature, not only for the sense of awe and
a place you want to capture through your work?
wonder a beautiful landscape can give you, but also a renewed respect for the environment,
Rebecca The moment is significant somehow
its fragility, and our role to protect it. In a
– you just know. I try to embrace it in a holistic
world where technology fuels perpetual over-
way, to capture and set the scene within my
production, these artists prove there is freedom
work. I like to show multiple facets of an
to be found in working with limited resources
experience through a series. For example, the
in a way that celebrates rather than damages
Sacred Water series was based on a 10-mile
the planet. Before we delve into how they
stretch of a pilgrimage route. Each panel is
achieve this, I ask where the urge to capture the
about a particular encounter with a well that
landscape through art comes from.
hadn’t been used for an extremely long time
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Freedom in the Finite
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Freedom in the Finite
Works by Cyrus Mahboubian 1. Cornish Nightscape/Nude (2023) 2. Nocturne I, Cornwall (2021) 3. A Seascape I, Dorset (2022) 4. Winter Trees, Oxfordshire (2020) 5. Horse/Cherry Blossom (2022)
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Freedom in the Finite
and was well hidden along the way. It was
take days, it’s actually quite an energetic and
this time last year, on the shortest day of the
creative process at stages. If the piece requires
year, when I walked the route with my glass
a lot of water, I might be moving that around,
jars ready to collect water. Different mineral
splashing things. There’s an intensity at the
compositions influence the outcome of the
beginning. I know what I would like each work
firing, which is crazy! The Sacred Water series
to capture the feeling of. I try and retain that
are very white, and this negative space allows
freshness. Unexpected things happen in the
the other colours in the water to come through.
process, which I embrace.
Cyrus For me, walking itself has become a
Molly You are both mindful of your impact
meditation - an escape from digital culture.
on the planet. Some might ask whether artists
I often say my work is a reaction to digital
should be producing at all. What would you say
technology and the ways it has become so
to that?
ingrained in our lives – it dominates. We’re totally at the mercy of technology. I love the
Rebecca I feel very passionate and have had
unique aesthetic of the vintage film I use, but
many conversations with artists, particularly
it’s no longer in production. I have to seek it out
sculptors, about this subject. At the Royal
and try to find old, unused packs. I’m forced to
Society of Sculptors, we regularly debated the
be selective and careful because the material
ethics of using finite resources within our
is so finite, and I can’t afford to waste. On my
work. We have concluded that whilst it’s our role
walks, I’m always observing my surroundings
to be careful with materials, it’s also important
carefully. If I don’t get that ‘feeling’ I won’t
to capture and communicate what it is we
make pictures – it’s just become an instinct.
want to say - it’s a lot of pressure.
It’s the only time I’m really part of the environment, the landscape, and very attuned
Cyrus Right! Using limited materials is a lot
to it.
of pressure, but on the other hand, has brought so much meaning to my work. It’s enhanced my
Molly For both of you, the process of making
experience – I look at everything much more
work is slow and meticulous requiring a lot of
carefully than otherwise I would. As well as
focus and discipline. How important is pace to
being precious, the film is very unpredictable
your practice?
because it’s so many years past its expiry date. One pack might be great, the other unusable.
Cyrus My practice is intentionally slow because
Occasionally I’ll get lucky, the quality will be
I’m seeking an escape from the fast pace of
brilliant, and I’ll be able to capture details.
everyday life. As a result of the film being so
But honestly, over the years, this has become
limited, I’ve started to make collages using my
less and less important to me – using vintage
own existing body of work from the last seven
film is part of engaging with the landscape
years. This process is similarly slow, considered,
in a meaningful way.
and meticulous. Pace is crucial to my work. Molly Rebecca, have you always had a Rebecca Like you Cyrus, my work defines its
consciously sustainable practice, or has it
own pace. In the studio, whilst there are time-
become accidentally eco-oriented?
sensitive points such as drying periods that may
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Artiq Annual Volume 2
Rebecca This is an interesting one. When I was
completely inhibited by how precious they
doing my masters, I was fascinated by mosaic.
were. So instead, I used all the scrap glass
The Venice Biennale was a huge source of
and coloured it with glass enamel which is
inspiration for me, with its amazing churches
something I do to this day.
encrusted with fabulous mosaics. I went to a fantastic shop that sells Italian mosaic and
My work is an expression of an experience, so
chose several beautiful materials but later
I must feel free to experiment with it. I also
found I couldn’t use them in my work. I was
collage, cutting pieces of glass and arranging
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Freedom in the Finite
Rebecca Newnham, Quercus Edition 2022. Image courtesy of David Bird.
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Rebecca Newnham, Rise, 2018. Image courtesy of David Bird.
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Freedom in the Finite
them to emulate the flowing lines and light
it’s incredibly light and robust – perfect for
reflecting on the water. It was in Venice that I
outside, where much of my sculptural work
realised you could place a red tile next to a blue
exists. I’m enjoying making work for interiors
tile and from a distance they merge, and the
now because durability is less of a concern -
colour vibrates. While on that, I’d love to learn
you can have a lighter touch.
more about your approach to collage, Cyrus? Cyrus I’m really enjoying the intimacy of Cyrus Well, in the early days, I was much more
small-scale works. I like to translate this
of a purist and believed photography was a
meditative experience to the viewer. Some
literal representation of an experience - you see
Polaroid artists blow their images up large for
a landscape, you want to capture that landscape
exhibitions, whereas for me, it’s always been
exactly. Now, I’m increasingly playful and
important to show the original photographs
experimental in my practice. With time comes
because it forces the viewer to look at them
confidence and you become more competent
closely. You must stand close to them and
with your materials. At first, I just I wanted
analyse the detail. It’s a way of encouraging the
to reuse the imagery and continue making
viewer to slow down and absorb some of that
work with that aesthetic. Then I started really
energy with which the work was created. Large
enjoying bringing in a surrealist quality, taking
works demand your attention, whilst small-
my photography in a new direction. I would
scale photographs draw you in. This is also why
look at the different halves of images and try
I choose to frame with a lot of negative space
to find a visual relationship or harmony. Like a
around the image, because this contributes to
memory, my collages evoke a kind of ‘blending
the intrigue.
together’ of an experience. I take a lot of pleasure in creating these small, meticulously mounted collages, and being more playful with
Molly Coffey, Curator at Artiq
the format. Molly Talk to me about the finished work, and the ideal context in which you feel your art should be seen? Rebecca My glass panels have a curved surface. This might be rippled or a concave in an aim to try and capture the motion of water. I really like them to hang in spaces where they have a relationship to other objects and lots of light, which brings them to life. In the beginning, I was very inspired by Vermeer and the ways in which he embraced that which was available and used the lens to capture his subject with accuracy. When I create three-dimensional sculptures, I use a wire mesh system and then a blender. In the past, I’ve used fibreglass because
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Artiq Annual Volume 2
The Future is Fatoş A leading voice in contemporary art and a fervent advocate for artists' rights, Fatoş Üstek is constantly breaking new ground. For Volume 2, she joins Patrick McCrae for a frank conversation about the necessity for change and what we must do collectively to get there. Patrick I wanted to start this conversation
Fatoş We can all craft various narratives from
by thinking about the narrative arc of this
our history, so I don't have just one. There's my
interview and aligning it with the narrative
so-called professional journey, with what people
of your personal story. Some things I have
refer to as milestones—projects I've been part of
gathered from reading about your professional
or initiated. But I believe there's another story,
life, from judging the Turner Prize to the 4th
which is more about character. So, ask me again:
Plinth, chairing the New Contemporaries, and
what do you really want to know? Because
lately, curating Frieze Sculpture - it's quite
like you say, the facts about what I've done are
the list of accomplishments! Then, there's this
already out there.
interesting twist with your background in mathematics, you studied maths in Istanbul,
Patrick I'd love to hear about breaking through
Turkey, and were on a path to a career in
[into the art world] rather than the accolades.
engineering but eventually found yourself in
As you say, the accolades are already out there,
the arts. Your journey is almost the opposite of
and they speak for themselves; you don't get
what we often hear: many study art and aim
to curate at Frieze Sculpture without already
for a career in the arts but end up working
being somebody. What was your breakthrough
somewhere wholly different. This early
moment?
influence came through in your curation at Frieze Sculpture, for example, in how you spoke
Fatoş One thing that has been very prominent
about the lines of sight between artworks. So,
in my journey is passion. I discovered my
can you take us through your journey? What is
deep love for art in college, and that was
the Fatoş history?
something I didn't know about myself before.
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The Future is Fatoş
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Lindsay Seers, No Money is Included, 2022 (video still). Courtesy of the artist.
It led to a sort of double life for a while - I
the contrast was so interesting. I sometimes
was a maths student but also working for and
reflect on whether I could have become an
being involved in newly forming initiatives
artist, and I think the answer is no. Early on,
and platforms, like the first contemporary art
I believed I lacked the creativity that artists
gallery in Istanbul. It was a passion I did not
had, but now I think it might have been more
know I had in me until I exposed myself to it.
about lacking the courage. Coming from quite
It started with photography, then film. I was
a traditional family, the breakthrough moment
so intrigued by the creative force, which felt
happened when I started building trust in arts
much less controlled than the maths I studied;
as somewhere I could realise myself. So, my
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The Future is Fatoş
journey started with self-realisation. I needed
stumbling upon a work by, let's say, Yinka
to learn who I was, and visual arts became
Shonibare. Are you trying to light that same
lenses through which I could proliferate my
spark in all of us?
worldview. Fatoş You always bring your character traits to Two decades in, I've become less important in
everything you do in life. I am never satisfied
my journey. My focus has shifted towards being
with what's given. If someone says, 'This is
there for and supporting artists and aiding the
it,' my response is, 'Is there anything else?' In
birth of artworks. The recent Frieze Sculpture
college, they taught mathematics as if it were a
edition showcased things that had never been
given, so I became intrigued by incompleteness
done before within that context, and that
theorems, essentially proving that 'this is not it.'
excites me!
The same approach applies when I am curating, and it's becoming my curatorial signum of
There's a beautiful Derridean concept
sorts. I like pushing the envelope, discovering
called 'the Unthought', in which he refers to
new things, and incorporating them into the
philosophy exploring areas that have not yet
equation. But I also love to grow things, seizing
been considered or given thought. Successors
their potential and ensuring they are nurtured
will identify the gaps, add to them, and change
and nourished to evolve into something else. If
the outcome. This is how I approach curation.
I had stayed in mathematics, I would have been
And this is another connection to mathematics:
less able to do this. The fact I can play and push
I was always interested in topology, what you
boundaries is my foil.
mentioned before as sight lines. When things are placed in new constellations, what does it
Patrick Staying on the theme of not being
create? They come together to contribute to a
satisfied with the state of things, what you are
larger conversation - a dialogue instead of a
doing with FRANK is very much in the same
monologue. This conversation can extend to
realm - challenging the status quo. Only in the
the site itself, which is why I find the public
last few years has the conversation about fair
realm more interesting than a white cube space.
pay for artists risen to the top. I'd love to know
It's less controlled and more agile. That's what
more about FRANK, how it came about, and the
curating is about for me.
work you all are currently doing.
Patrick Listening to your story - initially
Fatoş The conversation started organically with
steering towards mathematics but discovering
Anne [Hardy] and Lindsay [Seers], the two other
art and the self-actualisation that happens
co-founders of FRANK. And my interest in
when you do - that moment feels similar to the
fair pay culminated while I was still working at
work you're engaged in within the public realm.
the Liverpool Biennale and had engaged a few
For instance, at Frieze Sculpture in the Regent’s
trustees to re-work the artist payment terms. I
Park, there's an audience like me, eagerly
was unhappy with a flat fee for all artists that
joining a tour at 8 in the rain, discovering
didn't consider whether they had spent nine
exciting new artists like Amy Stephens.
months creating a new commission or showing
However, there's also an audience strolling
an existing work that might just have been
in the English Gardens on the weekend, not
slightly altered. It didn't seem fair. A crucial
anticipating encountering art but possibly
aspect for FRANK is that today, everyone talks
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about the need for diversity, inclusion, and equal
and more. Without recognising these factors,
opportunities. Economic parity is a significant
we can't make the shift towards fairness. Fair
part of this that often isn't addressed. It's not
practice isn't just about remuneration; it also
just about class but also the opportunities
involves fair working conditions, fair contracts,
you provide. If you want to showcase a single
and fair representation. FRANK addresses
parent or an artist with caring responsibilities,
all of this in our founding principles and in
they can't afford to give up a paid job for
the artist questionnaire we're developing with
a poorly paid exhibition project. Without
Canvas Art Law. It's not a contract in itself, but
addressing this, you can't really talk about
it can serve as the foundation for one. Artists
diversity. Another essential aspect is the need
and whoever they are working with - whether
for a mindset shift across the globe to start
curators or directors - can use it when initially
recognising artists as professionals.
agreeing to work together. Everyone will understand the terms: timelines, production
Currently, the sector in general positions artists
budgets, expectations from each party, payment
as workers, justifying a minimum or living
schedules, and so on. When translated into a
wage. For instance, Arts Council England
contract, it should build more trust and leave
recommends minimum living wage fees for
less space for abuse.
artists; in other places, artist rates are equated with teaching rates. While artists teaching
Patrick One of the things we touched on earlier
in a school should be equated to teachers, if
is that the art world doesn't talk about money.
they are invited and contracted as artists,
For young people leaving school in their late
they must be recognised as professionals and
teens or early twenties, they compare the pay
receive professional rates. Some countries
brackets and career trajectories in the art world
and organisations are well ahead in this,
with other sectors. Many end up following the
like Finland and the Netherlands where
money, causing a significant issue in terms of
artists receive a professional wage (at times
representation for the sector, not only among
in alignment with designers and architects).
artists but also among art professionals. In the
FRANK is not developing a new rate
UK, over 90% of the creative workforce comes
scheme, but we are creating a conceptual
from advanced socioeconomic backgrounds
fair pay calculator to unpack the process of
because of the perception that creativity doesn't
commissioning an artist or showcasing an
pay. How can we attract the next generation of
existing work.
talent to the art world?
Patrick That sounds intriguing! How will it be
Fatoş We started as an organisation focusing
applied, and what exactly will it calculate?
on artists, but it needs to extend to all creative practitioners. Due to the low salaries, only a
Fatoş It will demystify what it truly means
specific group of people can afford to take these
when you want an artist to create a new work
jobs. Suppose we think of systems as pools.
for you. The calculator will break down exactly
When you swim in them, you get used to it;
what you're requesting from them. It's about
eventually, you don't see, feel, or think outside
breaking the barrier of not fully understanding
of it. We need to change the system; we need
what an artist does, the time required for a
to change the business model. Currently, it's a
commission, the research involved, the labour,
dependent business model relying on external
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The Future is Fatoş
Yinka Shonibare CBE RA, Material (SG) IV, 2023, Stephen Friedman Gallery. Frieze Sculpture 2023 Photo by Linda Nylind. Courtesy of Linda Nylind/Frieze.
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The Future is Fatoş
funding with many strings attached. It might
concept of a public institution in the West
be a radical suggestion, but we need to strip
is yet to be viable. We are already pressed to
away from that lineage of power dependency,
become private operators within the framework
and from that, more autonomy and agency
of charities. This spring, I have a book coming
will follow. But before we can change the
out called 'The Art Institution of Tomorrow:
model, we need to change the mindset. Most
Reinventing the Model,' where I suggest a new
of our institutions operate with a degenerative
idea of a model that, in many ways, abolishes
mindset (borrowing the term from economics),
the current structures of institutions. But I'm
expecting to invest the minimum but gain
not saying this is the model; it's just a model.
the maximum output. We operate in a very
For me, that represents the future—a space
precarious sector. Compared to other industries,
where many different models can develop or
business or entrepreneurial models, the art
emerge.
sector is operating with much emotional and financial precarity.
Patrick Final question: how can we get involved - artists, organisations, institutions?
Patrick You talk about changing the funding model - one of the things that I have tried to
Fatoş They can become members. We've now
demonstrate with Artiq is that you don't need
opened it to all creative practitioners, from
external funding to run an arts organisation;
creators to critics. We've set nominal rates
you don't need venture capital or the Arts
(£16 for artists; £32 for young galleries/
Council. But in the process, we have been party
organisations; £256 for public institutions per
to certain snobbery due to our partnerships with
year) because we want to build a community.
the commercial world. To me, these forms of
Workshops and online forums will be available,
collaborations or partnerships are very obvious
and the tools we're developing can be accessed
funding routes for the arts. Is there a future
through our membership platform. FRANK
where the art world would work together with
is not an artist organisation, and we're not
more corporate and commercial partners? Is
a public institution. We are one approach
there an element of needing to let down some
to finding a solution, believing in rising up
barriers for that to happen?
together to improve the practice. We want to create a space where everyone has a seat at the
Fatoş It's crucial to recognise that there are no
table - artists, directors of institutions, funding
public institutions left. In the 1980s and 1990s,
bodies - to collectively ask ourselves how we
almost all institutions received the majority
can all do better together.
of their funding from the Arts Council. That's no longer the case. Today, institutions are being pushed toward a mixed economy model, with most funding coming from private
The Art Institution of Tomorrow: Reinventing the Model by Fatoş Üstek is due to be published by Lund Humphries in April 2024.
sources. A big problem for institutions today is the extensive efforts put into fundraising around 60% of the labour force is dedicated to fundraising activities: gala dinners, funding applications, reporting to funders, patron events, merchandise, and more. It's a lot! The
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For What it's Worth How do we measure impact? Meela Thurloway explores concepts of value associated with investing in art that goes beyond ownership. The essence of art transcends ownership,
value. Economic worth is linked to supply
serving as a dynamic lens for interpreting
and demand, while cultural value, rooted
our ever-evolving world. Artistic expression,
in societal significance, impacts economic
rooted in storytelling - not trade - has been the
value. Recognising art's power to tell stories,
driving force for collecting for millennia. In
encourage human connection, and foster
ancient Greece and Rome, art signified status;
community introduces an alternative metric:
the Renaissance connected it to intellectual
social impact.
pursuits; the 17th and 18th centuries saw art markets emerge; the 19th century introduced
Embracing art for social impact is not merely
public museums, and the 20th century brought
a value proposition but a strategic imperative
investment motives. Today, motivations for both
for businesses. Michael Blake, recipient of
creating and collecting art continue to evolve.
the Public Sector Impact Award at the UK Real Estate Investment & Infrastructure
The art market is a complex cultural
Forum (UKREiiF) 2023, brings over a decade
constellation, requiring nuanced consideration
of expertise in social value and community
of economic and cultural dimensions to assess
wealth building. As the Founder of The Impact
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For What it's Worth
Hidden Moon by Ralph Hunter-Menzies, leased to EQT London.
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Birth of Pandora by Suzi Morris, leased to EQT London.
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For What it's Worth
Sanctuary, a network supporting organisations
thus, enduring positive social impact.
focusing on purposes beyond profit, Michael asserts that “successful businesses must
EQT, a purpose-driven global investment
embed social impact into all aspects of their
organisation, partnered with us to develop
operations.”
an art strategy reflecting its commitment to sustainability and local talent. Their
The social (‘S’) aspect in the ESG
inaugural London art collection supports over
(Environmental, Social, and Governance)
20 emerging local artists, ensuring a regular
framework is gaining prominence, having
income throughout the leasing period. 90%
previously taken a backseat to environmental
of our clients, including EQT, rotate their
considerations. Michael underscores the
collections annually, meaning different artists
“growing importance for organisations
are being paid and their works are shown to an
to establish a process and framework for
ever-growing audience. This initiative forges
measuring positive social change. Whether
a genuine connection between businesses and
through quantitative or qualitative approaches,
their locale, fostering a dynamic collection
organisations bear the responsibility to play a
adaptable to evolving brands and societies.
pivotal role within communities, broadening perspectives and considering the long-term
Recognising the value of strategic investment
legacy of their actions.” Integrating social
in leasing art for businesses, Philippa Wagner,
concerns into sustainability strategies is
Founder and Creative Strategy Director at
essential, with many arguing that one cannot
PeoplePlacesSpaces, incorporated this approach
be successfully addressed without the other.
into the strategy for the concept hotel MM:NT
Applying the notion of art's social impact
Berlin Lab. Philippa identified the opportunity
to another pressing issue - rethinking our
to lease work from emerging Berlin-based
approach to consumption - a circular model
artists as an empowering way to support the
provides a unique opportunity to leverage
local creative community, aligning with the
art's power to connect and build resilient
hotel's commitment to conscious hospitality.
communities without necessitating the
She believes that “hotels no longer serve the
production of something new.
sole function of a place to sleep; they serve as access points to the location, functioning as
Leasing art transcends traditional ownership
hosts, guides, and curators of experiences.”
models, providing sustainable support across
The narrative of interiors matters more than
the arts ecosystem. For artists, it enables income
ever before.
diversification, fair pay, and contributes to a circular economy by exhibiting artworks that
Emphasising that “meaningful connections are
might otherwise be confined to studios or
forged through active engagement,” Philippa
storage. Lessees highlight benefits, including
believes that “supporting local communities
meaningful storytelling about who they are
is crucial for the future of hospitality, and
and what they represent, as well as aesthetic
art is an excellent way to achieve that.” While
and financial flexibility. They also emphasise
some elements at MM:NT will be standardised
the advantages of broader impact through
globally, the art provides a unique opportunity
ongoing connections and opportunities for local
to immerse guests in the distinctive character
creatives, fostering community cohesion and,
and stories of the area. Their approach commits
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Artiq Annual Volume 2
MM:NT Berlin Lab is due to open in the spring of 2024.
to collaborating with local artists annually,
artists, such as Yi Ling Lai, who reflects: “I
infusing the space with the distinct vibe of
wasn't entirely sure when deciding to engage
each location. It's not merely about decoration;
in art leasing initially, as I had not experienced
it's a platform to share these stories and create
this approach before.” Ling, who graduated
authentic experiences for their guests.
in 2021, adds: “While the benefits I currently derive aren't enough to sustain my livelihood,
For emerging artists, interacting with clients
it's a new way to generate continuous income.”
and collectors is a valuable opportunity to gain
Income security from leasing enables artists
insight into commercial appetites. London-
to reinvest in creating new works to evolve
based artist Kristina Chan has been exhibiting
and establish their practice, crucial for those
in commercial galleries since 2013 and started
the early stages of their careers. Last year, we
leasing her work simultaneously last year. She
paid over £2.3 million to artists and makers,
says “It allows you to circulate artworks no
underlining the crucial role of innovative
longer on tour or larger pieces that don't always
approaches like leasing in sustaining the arts
have the venue or opportunity to be shown. It's
ecosystem.
a great way to introduce your work to a new and wider audience and allows it to be seen in
Shifting from the individual perspective to the
various settings and across industries.”
wider cultural sphere, we reflect on evolving motivations for creation and collection,
Leasing art diverges from the traditional artist
including businesses as active community
career trajectory and is a new process for many
participants. Art, viewed through the lens
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For What it's Worth
Artist Yi Ling Lai in her studio.
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Artiq Annual Volume 2
Artist Kristina Chan in her studio.
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For What it's Worth
of social impact, challenges the notion of value solely from possession, expanding the concept of investing in art beyond ownership to cultivate a broader legacy. Art leasing emerges as a contemporary and inclusive cultural investment, supporting a sustainable creative economy. It represents an outwardlooking cultural initiative, providing ongoing support for artists in early career stages and contributing to vibrant communities, creative spaces, and enriching local cultural landscapes.
Meela Thurloway, Lead Art Consultant at Artiq
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Ana Benavides
Anna Higgins
Ones to
Watch 44
Ones to Watch
Ben Topping
Jesse Akele
Every summer, London welcomes an artistic
and presents a vital opportunity for artists
renaissance—a reinvigoration of the industry
and curators to establish the trajectory of their
and an opportunity for emerging talent to
future careers. From the blood, sweat and tears
flourish. Across the capital, hundreds of degree
of its students, these shows are a one-stop-shop
shows feature the works of students from a
for the country's most exciting emerging talent.
variety of undergraduate and postgraduate
Amidst this cacophony of creativity, we have
courses. These exhibitions represent a diverse
identified four rising stars from masters'
range of creative disciplines and are a
programmes across London. From the RA
testament to the dedication and artistic fervour
to City & Guild, these emerging artists are
of their graduating classes. The yearly influx
redefining artistic narratives and pushing the
of talent is invaluable to the creative industries
boundaries of traditional expression.
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Artiq Annual Volume 2
Ana MA Painting, Royal College of Art
Benavides 46
Ones to Watch
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Ones to Watch
Inspired by the textiles, landscapes and the nature of her hometown of Monterrey, Mexico, Ana Benavides is an artist born with colour. She characterises her practice by texture, gesture, and colour, and having grown up in Mexico, she is well acquainted with all three. 49
Artiq Annual Volume 2
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Ones to Watch
She is also no stranger to hard work and
give up”. She continues, “If you really love what
determination. Having studied a BA in
you do, and you do it with passion and love, I do
Advertising and Marketing, Ana's MA was an
believe it's going to pay off.”
opportunity to unleash her creative practice. “When I finally graduated, I said to my
Ana's passion is not only evident, it's infectious.
parents, I'm doing painting now. I don't care.
She works with a focus, fervour, and fluidity far
This is what I love.” The MA was a valuable
beyond her years. Reflecting on the impact of
opportunity for Ana to develop her practice, and
her paintings, she says, “I feel nowadays we're
the large-scale, gestural works she now creates
in a society, and in general in a world, where
are far removed from the pop art influences
we never look within. We never hear intuition”.
she began the course with. When asked what
Encouraging us to reflect on our emotions,
advice she would give other recent graduates,
she reminds us of the simple power of art:
Ana's determination emerges yet again. “Keep
“Expression as a way of liberation”.
working your ass off every single day, and don't
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Ones to Watch
Anna The Royal Academy Schools
Higgins 53
Artiq Annual Volume 2
Love Theme, 2023, multiple exposure positive film on Somerset Paper, archival varnish, 129cm x 179cm.
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Ones to Watch
Anna Higgins's expanded photographic practice explores our interpretation of image. Informed by early photographic practices and the history of experimental film, she allows process to dictate the outcomes of her imagery. The resulting work is surreal, beautiful, and frustratingly ineffable.
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Artiq Annual Volume 2
For Anna, imagery is a universal, non-verbal
and to make whatever you want”. This openness
language that transcends our understanding
has become a part of Anna's practice. Rather
of past and present. She explores forms and
than pointing to something beyond the image,
symbols that have existed since antiquity and
our understanding of her work should be
is fascinated by their ability to communicate
latent within its picture plane: “I want people
throughout time. When asked for examples,
to experience the work how they want to
Anna quickly answers, “The sun, light, colour”.
experience it, with a radical feeling that there
These forms are evident in her work and
are no right answers.”
serendipitously reflect the basic requirements for the analogue and digital processes that
With no right and wrong interpretations of her
make up her practice.
work, Anna makes way for a beautiful piece of advice. Given to her by an older artist and past
Compared to the theoretical, post-modernist
mentor, she tells us: “Make work for ten people.
approach of her undergraduate, Anna's time
Just have ten people you know care about your
at the Royal Academy was marked by
work, who are interested in it, and don't care
receptivity and material experimentation,
what the rest of the world thinks. Just think
“a radical openness to do whatever you want
about those ten people.”
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Ones to Watch
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Ben MA Printmaking, City & Guilds of London Institute
Topping 58
Ones to Watch
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Ones to Watch
Inspired by the process of ruination, Ben Topping's work explores history and decay; his practice reconstructs narratives from heritage sites and derelict buildings and encourages us to find beauty in fragmentation and deterioration.
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Drawn to printmaking during his BA, Ben's
Ben's scrutiny for over a year and, alongside
work is heavily influenced by process. “The
Porchester Castle, is the ruin he would most
whole idea of printmaking is you're etching
recommend to others. Sharing his captivation
into a metal plate, so I'm physically destroying
with these decrepit sites, Ben explains their
the surface of the metal to create an image
unique ability to evolve and shift. Their
of something that's been destroyed. It's like
existence across many periods of time makes
using erosion to depict erosion”. It is for this
them universal - they can so easily be “distorted
reason Ben believes in the mutual conversation
and implemented into different areas of fiction
between artist and artwork. He is not only
or history or painting”.
open to but informed by the influence of his materials and processes. Though he had
When asked what advice he would give recent
previously worked with casting and 3D
graduates, Ben's answer is simple: “Don't forget
printing, his time at City & Guilds introduced
to make artwork! So many people come out of
bronze casting to his practice. Much like
art school, stop for too long and then forget that
printmaking, he was drawn to the specificity
they can be an artist. Do whatever you want,
and order bronze requires, and the medium
just don't forget that you enjoy art.”
quickly influenced his study of Corfe Castle. Located in Dorset, Corfe was the subject of
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Ones to Watch
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Ones to Watch
Jesse MA Painting, Royal College of Art
Akele 65
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Personal, colourful and well-composed, Jesse Akele's paintings are a testament to her ability for storytelling. Even when abstracted from the moments that inspire them, Jesse has an incredible capacity for capturing truth. 66
Ones to Watch
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Ones to Watch
Raised between South London and West
It wakes you up every time you come out of
Yorkshire, and trained in theatrical naturalism,
your studio”. This ever-changing environment
Jesse is inspired by observation. She is
forced Jesse to think more critically about
fascinated by how our mannerisms and
her practice, and she discovered a longing to
attributes vary and explores the effect of
imprint more of herself on her work. With her
mimicking those attributes back to us. Like
background in naturalism, she began exploring
the theatrical process of performance and
the psycho-physicality of performance and
rehearsal, this often involves intense scrutiny
painting. “When you're on stage, if you've got
of moments in time. Going from moment to
an impulse to scratch your face, you don't stand
moment and back again to understand and
there and look like you don't know what to
capture the essence of her image.
do. You follow the impulse because people do scratch their face in real life.” The same goes
To Jesse, her MA was an invaluable time.
for painting: “Eliminate the gap as much as you
Compared to the privacy of her home studio,
can between what you want to do and what you
the RCA was in constant flux. “Every time
actually do”.
you walk down the corridors, someone's doing something completely different to what they were doing yesterday.
Riki Auton, Marketing Executive at Artiq
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Phineas Harper looks at art that goes against the grain of capitalism and commodification, exploring alternative pursuits that prioritise personal and planetary well-being over GDP. 70
Monuments of Meaning
In 2014, Russian artist and architect Alexander
existence has a built-in time limit making
Brodsky made a series of wall-mounted
their economic value under the conventional
sculptures depicting the facades of imagined
calculus of late capitalism ambiguous. Many
imposing buildings with windows and cornices
think that ecological art is about materials –
scratched into slabs of unfired grey clay.
sculptures carved from carbon-sequestering
Gradually cracking and flaking as they slowly
wood rather than cast in bronze at energy-
dry where hung, eventually the sculptures will
guzzling foundries for example are, in a way,
crumble. A jibe at the fallacy of permanence in
one answer to the question of sustainable art
architecture? A note on mortality? Or perhaps
production. But the bigger and infinitely more
a cantankerous challenge to the Art World
exciting opportunity is to explore art’s power
and the economics of how contemporary art is
as a component of the global economy driving
bought, sold and speculated upon.
climate breakdown, and to imagine what role it can play in shifting and provoking change. Since the 1930s, economic expansion expressed in a growing Gross Domestic Product (GDP) has been our main method of measuring national success. However, GDP growth has little bearing on true social health. When economists say “Britain is the sixth richest country in the world” they don’t mean its citizens have the sixth best access to resources enabling them to live healthy, long and fulfilling lives, they merely mean the tradeable value of all the products and services produced in the UK adds up to more than in other states. In fact, as has become starkly clear in recent decades, GDP growth is driving increasing energy consumption, extraction of natural resources, and greenhouse gas emissions, all accelerating environmental collapse. Redesigning the global economy to prioritise culture, well-being, and ecology over the pursuit of GDP growth, is now a fundamental
Alexander Brodsky, Untitled, 2014, unfired clay, 84 x 76 cm. Courtesy of the Artist and Betts Project.
challenge facing every corner of society including the Art World. How art should adapt and learn from degrowth and circular economics, is an urgent and exhilarating
Art, often, is seen as an asset; a thing we buy
conundrum.
and own as an investment which can be sold on in the future (perhaps at a profit). But Brodsky’s
In 1986, Esther Shalev-Gerz and Jochen Gerz
fragile facades have no future; they are on a
made their own disappearing artwork. Their
one-way journey to dust. Their disappearing
Monument Against Fascism in Hamburg-
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Esther Shalev-Gerz and Jochen Gerz, Monument against Fascism, 1986, Permanent installation, Hambourg-Harbourg, Germany, installation view, 1986, © Atelier Shalev-Gerz. 72
Monuments Articleof Title Meaning
Harburg began as a 12-metre steel column upon
Tattoos are economically bizarre investments
which residents could carve messages of rage,
because as soon as you've bought one, you can
fury, love and loss into the lead-faced exterior.
never sell it. No matter how famous the artist
As each section became saturated with writing,
or how elaborate and costly the piece, a tattoo,
the column was incrementally lowered into the
once drawn, has no resale potential. If an NFT’s
ground until, in 1993, the artwork disappeared
value is entirely about its price, a tattoo’s value
entirely. As stated on the invitation panel, “In
is entirely about its meaning.
the long run, it is only we ourselves who can stand up against injustice”.
It’s not just tattoos and Brodsky’s crumbling facades that refuse to play nicely with the
Today the monument is effectively gone,
conventional rules of economic exchange. In
buried along with eight years of outpoured
fact, the value of many rewarding activities are
grief. Yet its self-destruction – the very fact
impossible to recognise through the limited
that it doesn’t linger on like the statues of
framework of GDP. Faith, prayer, meditation,
dead slave owners and military generals
gardening, gossip, amateur sports, long walks
which litter our public realm – makes it all
in the countryside, many hobbies, spending
the more meaningful. Clearly, not all art needs
time with friends and family, romance, sexual
to physically endure as a potentially tradeable
pleasure and play are all examples of things
commodity to wield value. Untangling art
humans pursue and find deeply nourishing
from the logic of consumerism in a post-
which produce little or no economic output
growth economy could be a rich and expansive
but are at the core of a good life nonetheless.
challenge for ambitious artists and curators to
A Britain in which everyone worked several
explore.
hours fewer per week but spent more time appreciating art, experiencing nature and
By contrast, the visible rise and fall of Non
getting laid instead would certainly have a
Fungible Tokens (NFTs) reveals the cultural
smaller GDP, but its citizens would undoubtedly
dead end that awaits art which centres its
be happier and healthier than they are today.
purpose entirely on ownership and trade. The 10,000 “programmatically generated” cartoons
Impossible to sustain in the long term and
which make up the Bored Ape Yacht Club
harmful in the short, the pursuit of perpetual
NFT collection, for example, have contributed
GDP growth will eventually come to an end.
gainfully to GDP growth, but are otherwise
By testing and embodying forms of value that
phenomenally banal; their derivative design an
transcend the logic of GDP entirely, art and
emaciated shadow of Jamie Hewlett’s artwork
artists cannot just be part of, but help define
for the fictional pop band, Gorillaz. The Apes
and shape, the truly sustainable ecological
have no cultural, aesthetic or philosophical
economy of tomorrow.
value – merely a cash value for how much of a given cryptocurrency they retail at – nothing more. The opposite of NFTs are tattoos. For me, these indelible marks on my skin carry reminders of my roots and values but they are also totally
Phineas Harper is the chief executive of Open City and Open House Worldwide and a regular columnist at Dezeen and the Guardian, exploring the inter-section of architecture and politics. Alongside writing, their work spans kinetic sculpture, film and print making.
worthless. 73
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Building a Better Tomorrow Emerging trends in the real estate sector suggest a move towards maximising social impact. An expert in this field is Grosvenor's Project Director Lucy Puddle, here in conversation with Tazie Taysom about shaping purposeful spaces for the future.
Tazie We're meeting today in Fivefields, a new
encompasses aspects of property finance and
impact-driven workspace on the edge of The
law as well as environment and philosophy.
Green Park and around the corner from Victoria
Initially keen to pursue a career in property,
Station. As the Project Director at Grosvenor,
I read an article about the gender pay gap in
you've been leading the development of this
the sector and that was a massive turnoff. So,
space - the latest in a series of impactful
I went down another route and qualified as
projects throughout Mayfair and Belgravia.
an accountant. Early on, I felt certain this
But interestingly your career didn't start in real
wasn't what I wanted to do long-term. Still,
estate; it began in finance. What can you tell us
I completed my qualification, hoping for
about your journey from where you started to
an opportunity to join a property company
where you find yourself today?
through the route of finance and transition to real estate. Eventually, I joined the finance
Lucy I graduated from University of Cambridge
team at Grosvenor, and after carrying out some
with a degree in Land Economy, which
project-related work there, I had an opportunity
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Florabelle by Jenny Brown at Fivefields.
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Now Everything's Vivid by Corinne Natel at Fivefields.
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Building a Better Tomorrow
to move to the development side. Principally,
me the tools and grounding to take on bigger
my role was in residential development, but
things. And then Eccleston Yards came along.
I quickly discovered that I preferred working
Hidden behind locked gates, it was a backland
with commercial spaces and in the public realm.
car park in an area adjacent to Victoria Coach
Initially, I felt I might lack the knowledge and
Station, unknown to most. A conversation was
skills compared to my peers, but development is
already happening about this forgotten space,
mainly about problem-solving, making timely
prompting Grosvenor to suggest this latent
decisions, and determining how to best add
area had the potential to be so much more.
value, be it financially, environmentally, in
It was an opportunity to create something
the community, or all three. I was fortunate to
exciting and quite innovative for us. The brief
begin with smaller-scale projects, which gave
emphasised maximising the use of existing
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Artiq Annual Volume 2
buildings as much as possible and to create a
However, Grosvenor's Sustainability &
new community that the existing communities
Innovations team is doing an incredible job
in Belgravia and Victoria could enjoy. Eccleston
distilling complex issues into actionable steps
Yard has transformed from an unknown place,
for each of us in our respective roles. As a
visible from the back gardens of only a handful
leader within our business, I feel empowered
of people, to a hub of restaurants, fitness
to do it. We're all on a journey of learning,
spaces, retail, and outdoor public space. Such
but with each project, we assess what worked
opportunities are rare to get in your career;
well and how we can do better. Take Fivefields,
it was incredible. Since then, my career has
for example; understanding the end users
naturally taken a path focused on commercial
shaped our design brief. The focus on social
and public spaces, leading me to my current
impact, accessibility, community fostering
project at Grosvenor Square Gardens. It's a
and providing a home for charities was clear
fantastic redevelopment of a renowned garden
from the start, which is unusual in my world.
in the heart of the West End in Mayfair—only
Whether designing the brand or constructing
the fourth time in its 300-year history that it is
the partitions, everyone embraced this vision,
being reimagined. Then there's Fivefields, this
creating a purposeful project, and it was
new co-working space created as a home for
evident throughout the process. Knowing that
charities and social impact organisations. This
charities supporting children and young people
project significantly accelerated my existing
would move into the space, we were able to
passion for inclusivity, accessibility, and the
forsee that many children and young people
environment, really shaping my thinking on
would visit. The space needed to feel welcoming
how we approach developments. As my career
and safe. All the colours in the building are
has progressed, I've been fortunate to seek out
deliberately chosen to be calming, with very
purposeful projects that clearly benefit people.
few patterns, and we've had feedback from a
I like contributing to change, seeing the fruits
wide range of people saying how it impacts
of my labour, and positively impacting the
their experience within the building.
communities I work with. Tazie We've discussed the purpose-driven Tazie The projects you've been involved in,
nature of the building we're currently in. We're
be it by serendipity or because you have
a very purpose-driven team at Artiq as well.
intentionally taken that strategic direction,
What made the process of curating a collection
appear to be one step ahead of shifts in real
for this space particularly interesting for us was
estate sector priorities. While sustainability is
that, for the first time, we collaborated with an
hugely relevant in nearly every contemporary
external consultant who assessed the collection
development, topics like community engagement,
through a very different lens - one centred
accessibility, and inclusivity haven't gained the
on neurodiversity and potential triggers. The
same widespread attention. Yet, you've actively
outcomes were more far-reaching than I had
championed these aspects throughout each of
anticipated. What was this experience
these projects in quite rapid succession.
like for you?
Lucy I think this stems from having permission
Lucy It was clear to us that the art needed to
to drive it. At times, it's challenging to see
reflect community, environment, well-being,
how we as individuals, can make a difference.
and inclusivity. One of the co-founders of
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Building a Better Tomorrow
I Am Nothing And Everything at the Same Time and It's Me by Nuria González Alcaide at Fivefields. 79
Artiq Annual Volume 2
Re-imagining Grosvenor Square Gardens. Image courtesy of Grosvenor.
x+why, Phil Nevin, said: “If we've gone to so
Tazie Being part of the design process, we've
much trouble to create the art with this in mind,
observed the significant effort invested in every
we ought to sense-check it.” It was a great
step of the process. One detail that caught our
example of having aspirations and desires,
attention is the use of braille in all the signage.
but like with many things, we could only go so far on our own. We consulted specialists
Lucy This is a great place to pause to reflect.
in neurodivergence and asked if there was
We could say, “Oh, isn't it great that we've
anything triggering or overlooked despite our
written in braille”, but instead, let's ask: is it
efforts to get it right. And sure enough, there
truly effective for those who rely on it? While
was. Once they pointed them out, it was so
it may look good to those who can see it, is it
obvious, but they're things that you cannot see
serving the purpose to those who need it? In
without lived experience. Whether in property
hindsight, we now know that there are more
or art, many of us share similar backgrounds,
efficient signage options available today that
so having a diverse perspective is incredibly
better accommodate visual impairment. Again
valuable. No matter how hard you try, putting
- it's a continuous learning journey. We've set
yourself in someone else's shoes is not always
a high standard, but there's always room for
possible. My biggest takeaway from this project
improvement.
is that when designing for accessibility, consulting someone with lived experience
Tazie Reflecting on these learnings, what do
is crucial. While many things can be adjusted,
you want to carry into future programming?
getting it right from day one is much more
Will art and sustainability remain central
powerful.
focuses, or is inclusivity stepping to the fore?
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Building a Better Tomorrow
Lucy As a business, sustainability will always
become quite rare for me to be the only woman
remain a core focus. However, there's a growing
in meetings; if it happens, I notice it; it's that
emphasis on social impact and prioritising
unusual. The industry is fast-changing. Within
wellbeing. This shift is increasingly evident in
our organisation, I've noticed that childcaring
daily life and naturally extends to development.
responsibilities are more balanced today
I am currently working on Grosvenor Square
compared to the past. There's also increased
Gardens, and I'm trying to envision the end
flexibility for those with childcare duties,
result. As a user, what will the experience be?
potentially enabling more women to reach
If you are a child or elderly, what is the ease
higher positions. There's still some way to
of movement in the garden? How will it look
go, but there are now many more women role
in different seasons? The answers to all these
models than before.
questions impact how we design it. Given that this garden is likely to exist for the next
Tazie Sometimes, that's all it comes down to:
hundred years, it is a tremendous responsibility
when looking around, are you the only one?
and privilege. We're asking ourselves how
While on the topic of role models, what advice
the garden can be suited for its intended use
would you give to a young woman entering the
from day one, evolve while preserving its long
industry today?
and rich history, and how it can potentially serve as an educational space about wildlife,
Lucy You've got to like what you do. You don't
biodiversity, rainwater runoff – all these
necessarily have to love it but having a genuine
aspects. It's a huge opportunity. Something
liking and passion for your work makes the
that Fivefields taught me is the power of
biggest difference. I recently got some advice:
partnerships – it requires time, investment, and
you don't need to know everything yourself;
foresight. Trust is essential, but when you can
you can lean on people who do. Be open with
play to each other's strengths and collaborate
what you don't know and ask lots of questions.
as a team, remarkable things can happen. Now,
Surrounding yourself with great people from
for Grosvenor Square Gardens, we're engaging
whom you can learn is so important. If you're
with many experts in their fields – gardeners,
part of a great team, you could be doing any job
horticulturists, ecologists – to ensure we're fit
in the world and still find something enjoyable
for purpose.
to learn from it. Moreover, we'll always need places to live, work, gather, and receive care;
Tazie The real estate industry has traditionally
the built environment isn't going anywhere. So,
been heavily male dominated. You mentioned
if you're a young person in the industry, you
earlier how the gender pay gap in the industry
have an opportunity in real estate to make a
initially discouraged you. While there's
difference, to shape the world. Crafting spaces
significant progress, do you think there has
for people is a significant responsibility, but it's
been enough change?
also incredibly exciting.
Lucy Earlier in my career, the gender split within the business I worked in was relatively
Tazie Taysom, Commercial Director at Artiq
equal, but there were very few female partners. At Grosvenor, there's an even ratio, and more women are stepping into senior roles. It's
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A t s 1 2 Century h c a o r p to p A Funding theArts 82
A 21st Century Approach to Funding the Arts
The old model is broken - a new approach to corporate art patronage is drastically needed. Amanda Parker says down with ego, out with gatekeeping; let’s reimagine a more equitable future of arts funding. 83
Artiq Annual Volume 2
As the seemingly never-ending Sackler/
been to announce a redistribution over five
Purdue scandal stumbles its way to the Supreme
years of all its assets - and its closure. Why?
Court, it serves as a timely reminder of why
Because, in their own words, they “view the
arts organisations have grown more diligent
traditional philanthropy model as so entangled
in scrutinising the source of donations. It’s
with Colonial Capitalism that it inevitably
been almost a decade since high profile
continues the harms of the past into the
actors and artists led the creative sector’s
present”.
conscious uncoupling, with arts organisations rejecting gifts from funders with origins in
Conscious of the power-hold that exists across
pharma, fossil fuels and other sources they
philanthropic giving, Lankelly Chase have
deemed ethically questionable. The Sackler
decided to write themselves out of the picture
scandal represents – we hope - the nadir in
and instead foreground the social need they
philanthropic giving. The family itself still
seek to serve. There’s so much to learn from
has ‘legacy’, even though their name has been
such radical action.
removed from many of the arts organisations they’ve funded. But that legacy is far from what
Wouldn’t it be amazing to see a system
they’d set out to achieve in providing millions
emerge in the UK whereby philanthropic
of dollars to cultural institutions.
giving becomes detached from individual organisations, where the names (of companies,
Legacy remains the motivation for many, but
or persons) behind those gifts are dialled down,
it's high time philanthropists re-write their
and the impact of gift giving dialled up in
expectations around giving. Current global
public narrative?
trends indicate a need to comprehensively review the creative sector’s stance on donations
The truism (so well-known that it’s never
too.
mentioned in polite company) is that those with wealth surround themselves with wealthy,
Since George Floyd's murder in 2020, funding
or ‘trusted’ others. This can lead to a habitual
bodies have dialled up their desire to make
mistrust of those who aren’t perceived to be
grant-giving better contribute to social equity.
‘like them’ or already known to them. Wealth,
It’s been fascinating to see some grasp the real
like fame, can understandably make one
meaning of this: true social equity necessitates
uncertain of others’ motives. This not only
equity in decision-making.
makes for a delicate, oftentimes fraught space shared between both donors and development
Following this logic means a move away from
managers, it also means that the world of
the current grant-giving model that distributes
fundraising remains persistently, stubbornly
to the ‘needy’ according to the assessment of
lacking in diversity! Often, donors and grant
those positions of power.
giving bodies will speak to those fundraising professionals already known to them (so many
The Lankelly Chase Foundation has grasped
trusts and foundations state this explicitly) –
this in radical, game-changing style. Their
and many successful fundraisers would rather
response to this uncomfortable quandary has
pull their own teeth than share with others
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A 21st Century Approach to Funding the Arts
either contacts or funds established through
charitable giving from the UK’s largest listed
their own hard work - irrespective of the need
companies – a 17.5% drop over six years. And
they'd be supporting if they did. No time soon
compared to other causes, charitable giving
will they introduce others who, through their
to the arts has been hammered: arts data firm
social status or protected characteristic, are
Tessitura reported a whopping 25% drop in
less likely to know high net worth individuals.
giving to the arts since 2016.
The result, perversely, is that well-supported organisations, who already have donors with
By operating in a cultural sector that’s partially
deep pockets, become even more favourably
funded by the state, both observers and those in
placed to receive additional funds, and those
the sector have relaxed into the belief that our
working with marginalised communities
cultural engagement will be bolstered by the
remain perpetually outside the loop.
cushion of taxpayer’s money – but those days are, I suspect, numbered.
It doesn't have to be this way. What if, for example, 10% of every £1 donated to a named
The UK can't afford to rest on the laurels of
organisation by a named individual or company,
public funding. Public purse is shrinking fast:
was redistributed via a central fund, that
according to the Creative Industries Policy and
smaller organisations could not only access, but
Evidence Centre, England’s local authority
also collectively assess who would benefit from
spend – and therefore its investment in the
that giving?
arts - has fallen by more than 30% in the last decade.
Such an approach would make giving more equitable, less ego-centric, and have an
We need to get better at seeking private funds
additional benefit by democratising the nature
and embrace relationships with commercial
of fundraising itself, diversifying the decision-
investment opportunities. And this means
makers and improving the fundraising skills
getting our heads around the British
of marginalised communities in one fell
ambivalence about both commercial giving
swoop. This is entirely possible, and requires
- and receipt of such gifts. Those seeking to
a collective approach to social equity, led
greenwash their
by those large cultural institutions with the
dubious business narratives through cultural
highest profile, and the deepest pockets. Most
engagement, or raise profile and influence
philanthropists are open to the idea of seeing
through aligning with arts production, need
their gifts go further, and knowing their power,
to embrace the radical change that’s already in
could ask that a percentage of their gift is
train.
redistributed to those who don’t have the means to court them directly.
There is a sea-change in attitudes to giving. And it’s one that true philanthropists will
The UK needs to reimagine arts funding.
embrace wholeheartedly. It’s one where
Just as public funding has declined, private
status and recognition are removed from
investment has also atrophied: in 2023 the
the act of giving, where donors are not just
Charities Aid Foundation reported a decline in
content but delighted to not be named in
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the programme, above the gallery entrance,
A small sum by many standards, from donors
or on the donor’s wall. Where their gifts are
without profile or influence. But a sum
disbursed collectively, equitably, and reach
large enough to make a lasting impression –
beyond the ‘known’ entry routes before them.
setting the compassionate tone, and possibly
In conversation recently in London, Darren
the professional pathway, of arguably one
Walker, head of the US Ford Foundation,
of the most well-known African American
shared an anecdote that both challenged
philanthropists.
preconceptions of what philanthropy looks like, and illustrated succinctly what a gift’s legacy
As Darren Walker exemplifies, a radical,
can be.
collective approach to giving can have legacy far beyond any of our lifetimes, and can change
Walker shared a tale of how, as a young man
the very nature of giving.
raised by a single, low-income parent, he once received a $500 bursary – a sum that came from a group of siblings who held modest jobs, but who annually clubbed together to offer Walker’s college this gift, in memory of their father who had attended the same college. “That gift made it possible for my mother to see me graduate, and without it she would definitely not have been able to afford to do”, he explained.
Illustration by Sophie Viet-Jacobsen.
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Amanda Parker is an Olivier Award-winning arts and cultural consultant, whose work advances ethical practices and systems change for a more inclusive future.
A 21st Century Approach to Funding the Arts
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Artiq Annual Volume 2
For too long, the art world has been for the few, not the many. Henry Dowson speaks to three trailblazing organisations that are kicking down doors and paving the way for future talent.
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Un-level Playing Fields
Entering the world of art can be daunting,
One organisation working as an intermediary,
with many doors needing to be opened or even
attempting to bridge the gap and provide
kicked in. These often require a complex set of
paid internships with opportunities for career
scholarly qualifications, financial backing, or
progression, is 10,000 Interns Foundation.
indeed connections inside the industry itself.
Championing underrepresented talent and
But these old doors are starting to rust.
promoting equity of opportunity, they run
Individuals and institutions are taking this
two programmes to help meet this mission: the
opportunity to deconstruct the barriers of
10,000 Black Interns programme and the 10,000
entry from the inside, wanting to open the
Able Interns programme. Both programmes
sector to exciting, talented, young people. In
partner with businesses to offer students and
particular, the importance of paid, sustainable
graduates paid internship opportunities across
internships is key in dismantling this rigid
a range of industries, including the creative
and restricting structure. Young people propel
industry.
business and futures forward with their own potential, which, in turn, is the driving force
The Foundation’s Chief Impact Officer, Nana
behind modernity and positive change. It seems
Campbell, explains: “Talent is everywhere, but
vital for companies to hire paid interns and
opportunity is not, and the Foundation is driven
welcome a new generation of professionals
to democratise the early careers space to ensure
into the industry with open arms, to ensure the
that a variety of perspectives and voices are
arts sector becomes a thriving and accessible
given a platform and that the communities it
industry.
works with can access spaces they may have traditionally been excluded from.” Alexandra
However, the current climate in the arts sector
Vanburen Callender, an intern and now part-
boasts some fairly staggering statistics: a pre-
time employee at Artiq, shared some words
pandemic report by the sutton trust highlighted
about her experience saying, “this opportunity,
that almost 90% of internships in the arts were
and observing the different roles in the business
unpaid , and 77% of people working the creative
provided me with real examples of the many
sector have at some point in their career worked
ways my personal interest in art could be
for free . These numbers are indicators of the
turned into a career”.
1
2
socio-economic barriers that act as a deadbolt lock on the door to creative careers. The harsh
Democratising access to opportunity stands as
reality of these statistics is founded in radical
a crucial factor in diversifying and elevating
budget cuts, both from within and outside of
the sector to new heights. It is imperative to
the cultural sector, which have been demanded
address the socio-economic and class barriers
by the austerity policies of the last 12 years,
that alienate young people from entering the
compounded by the “erosion of state support
sector. A new, sustainable, and viable path must
in the preceding decade” under successive
be forged for newcomers to tread, which in
neoliberal governments3. At large, institutions
turn will set out to alleviate concerns. Notably,
and arts organisations simply do not have the
paid internships have been linked to social
funds to invest into artistic futures.
mobility, with 74% of individuals from working class households demonstrating signs of
Instead, they compensate by offering the
positive social mobility after completing a paid
opportunity and experience, instead of pay.
internship.
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Top image: The 10,000 Interns Foundation team. Photography by Mariana Pires. Bottom image: The 2023 cohort of New Curators.
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Un-level Playing Fields
An increasing number of institutions are actively working to dismantle these barriers, opening the field to young professionals, and offering new, exciting pathways into the industry, which is refuelling the industry with fresh and innovative ideas. New Curators offers a twelve-month fully paid curatorial training programme in London. It is designed for individuals from lower socioeconomic backgrounds from around the world to gain a foothold in a profession that they would not necessarily have access to, but is somewhere that would improve greatly should they be better represented in it. Yet, the New Curators initiative goes further than this. In addition to providing a foot in the door to the art world, they are also creating space for these individuals to flourish. Moreover, their carefully constructed programme also sees participants meet influential art world workers whose vision aligns with the organisation. In doing so, the young curators not only have a way into the sector, but can firmly grasp what is needed to succeed, whilst making the connections along the way, which ultimately ‘makes the journey into curation more equitable’ and feeds knowledge and experience back into the arts economy. There are clear benefits to both sides of having sustainable and paid internships that seek to be equal and accessible for all. In fact, unpaid internships neither improve job prospects nor lead to higher pay in the future, rather the opposite. Unpaid internships can devalue the labour force and increase the gap between the rich and the poor; the negative consequences of unpaid internships on the interns needs no further clarification. 91
Artiq Annual Volume 2
43%
of internships at for-profit companies are unpaid4.
74%
of individuals from working class households demonstrate signs of social mobility after completing a paid internship.
77%
of people working the creative sector have at some point in their career worked for free.
90%
of internships in the arts sector are unpaid.
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Un-level Playing Fields
However, paid internships can serve as a
into the production of their cultural
stepping stone, not a trapdoor, for emerging
programming, proving just how important
professionals and, for businesses, can provide
these opportunities are. Having fresh
a unique opportunity to discover and foster
perspectives from a myriad of backgrounds
future talent whilst having a significant impact
is fundamental for a healthy art scene. As an
on the retention of interns as valuable future
industry, we must provide authentic, sustainable
employees.
and welcoming opportunities for young professionals entering the industry. Whilst
Similarly to New Curators, there are several
dismantling the door that favours some people
innovative internship programmes being
over others, the industry must also facilitate
forged outside of London. Launched in 2020,
time and space for young people to develop
the Frieze x Deutchebank Emerging Curators
their skills and grow into professionals who
Fellowship was initiated as a paid placement for
can give back to individual organisations and
UK-based Black and People of Colour (POC)
the industry at large. The benefits from these
emerging curators. The aim of the fellowship is
initiatives are already being felt from all
to address the disparities in the sector, offering
sides, whilst the lasting impact will help to
spaces at institutions such as Chisenhale
strengthen the sector and empower Britain’s
Gallery, Baltic Centre for Contemporary Art,
creative youth for decades to come.
The V&A Museum, and The Whitworth, and is still running today with more institutions signing up. The fellowship was initially set up by the artists themselves, with established artists such as Yinka Shonibare, John Akomfrah and Ibrahim Mahama selling editions to raise funds for the wages of the fellows, which clearly displays the insistence from practitioners inside the art world wanting change. Kinnari Saraiya, a recipient of the fellowship, spent her time at Baltic, during which she was afforded the time and trust of the organisation to develop crucial moments in the public programming of the institution whilst “being able to own a creative output, and show it on already established platform.” The importance of providing a space for people to authentically express their own ideas with their voice is central to the Emerging Curators Fellowship, empowering not only the fellows,
Henry Dowson, Curator at Artiq 1. Cullinane, Carl & Rebecca Montacute, 'Pay As You Go? Internship pay, quality and access in the graduate jobs market', The Sutton Trust, Nov(2018), p.22. 2. Creative Industries Council (2022) Growth Of UK Design Twice As Fast As Rest Of Economy. Available at: https://www.thecreativeindustries. co.uk/site-content/growth-of-uk-design-twice-asfast-as-rest-of-economy 3. Industria (2023) Structurally F–cked An inquiry into artists’ pay and conditions in the public sector in response to the Artist Leaks data. London: a-n The Artists Information Company. 4. Gaynor, M.J. (2019) 43 percent of internships at for-profit companies don’t pay. Washington Post - 43 Percent. Available at: https://www. washingtonpost.com/lifestyle/magazine/his-questto-get-interns-paid-is-paying-off
but the institutions as well. Kinnari has now completed her fellowship, and holds the position of Assistant Curator at Baltic, providing curatorial knowledge and insight
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George Bird takes us through the history of research into the psychology of creativity, exploring how it can be defined and cultivated. 94
On Creativity
When creativity is brought up, our minds often
with his theory of convergent and divergent
jump to scenes of great artists and musicians,
thinking, now part of the common Myers-
Da Vinci in his Florentine studio, or Picasso
Briggs test. This structure categorises thoughts
scribbling on napkins at restaurants, Mozart
as convergent, in which thinking focuses
composing by candlelight or The Beatles
towards one efficient solution to a problem,
working out another number one record.
or divergent, where thoughts expand outward
Beyond these we might start to think of great
from the solution and involve multiple novel
scientists and inventors such as Tesla and
or unconventional solutions to the problem.
Edison tinkering away in labs and Marie Curie
Further research largely focuses on the
working towards either of her Nobel Prizes.
divergent type thinking in which creativity
Modern examples include Sirs Jony Ive, James
is most apparent.
Dyson, or Tim Berners-Lee. A further analysis of the research base in Creativity in this sense is often held
the 1960s, defined four main groupings of
as something almost otherworldly and
psychological research, known as the four Ps.
unknowable, creatives are thought of as just
These are ‘persons’ focusing on the individual
‘having it’. But creativity is not just massive
traits and personalities that affect creativity,
ideas, world famous artworks and music or
‘process’ focusing on the motivation, and
new and unique industry defining products.
thinking during the creative process, ‘press’
Creativity appears in all areas of our lives,
explained as the external environmental
no matter the scale - this is reflected in
factors affecting creative outcomes and
the approach of modern psychology to the
‘product’ studying the ideas and end results of
phenomenon of creativity. An emphasis on the
creative processes. Throughout the 1960s, the
importance of creativity is also growing within
groundwork was laid for further development in
non-traditional ‘creative’ sectors. Increasingly,
the field. Many of the common measures still in
the ability to understand and foster creativity
use today were created and began to
whatever the space is a crucial role of business
see widespread use.
leaders and teams. Psychology also began to take an increasingly Creativity is now accepted as a major part of
interdisciplinary approach to research,
who we are and how we work, but psychology
drawing on sociological research and research
hasn’t always given it the attention it deserves.
into education to allow more nuanced and
In 1950 as President of the American
diverse approaches to appear in the following
Psychological Association, J. P. Guildford,
decades. This diversification in the research is
highlighted that only 0.2% of the current
demonstrated in a recent literature review from
psychological research was dealing with
2021, identifying 12 major areas of creativity
creativity and creative impulses and challenged
research along with 36 key trends from
the field to remedy this lack of research into
recent years in comparison to the 4 of 1960.
creativity. And psychologists responded. Over
Psychology papers relating to creativity are
the next years and decades, Guildford’s call
now being published at a rate of around 3000
to action spurred a more enthusiastic move
per year with the majority relating to creativity
into creativity research which continues today.
within organisations and teams, the social
Guildford himself expanded the research base
psychology of creativity, creative industries,
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Artiq Annual Volume 2
and cities and idea generation. Other major
reaching and transformative as Pro or Big-C.
areas focus on the neuroscience of creativity
Little-c ideas are no less or more creative than
as well as specific creative industries and
Big-C, but have a different level of impact, and
therapies.
are often more domain specific. And finally, Mini-c, also known as subjective creativity,
Traditionally, the dominant psychological
represents ideas that are personally novel and
categorisation of creative thought has split
meaningful. These ideas or insights most often
creativity into two ‘types’, big and little C.
occur in individuals when they’re learning or
However, this categorisation of creativity can
experiencing things for the first time. While
seem limited in its scope. Against the general
this structure allows us to categorise creative
trend of psychology to minimise theoretical
thoughts, it’s important not to think of these
structures Kaufman and Beghetto have
levels as a ranking. For every Big-C idea,
proposed a more developed model, the four-C
there are layers of mini, little and pro-C ideas
model of creativity which expands upon the
providing a base upon which these larger world-
previous models with the inclusion of Pro-c
changing ideas can be launched.
and Mini-c creativity. These 4 levels present creativity as a continuous scale in order of
While there’s a mass of research work available,
Mini-c, Little-c, Pro-C and Big-C. Big-C
businesses without a psychology background
creativity refers to large scale ideas with a
often struggle to find ways to develop new
global transformative reach. These ideas are
practices that could make use of these findings.
characterised by the significant impact they
A general understanding of some of the
have on our world even outside of their specific
core ideas can start to bridge this gap. The
domains. They must also be new and novel and
most important factor in fostering creativity
often completely shift the approach to a field,
is an effective working environment. Here
creating an enduring and lasting impact.
we highlight some small key ways to foster
Big-C ideas commonly come from eminent
creativity within the workplace drawing on
figures, well respected within their fields,
some of the psychological structures discussed
such as those used in the introduction.
previously. The first method of fostering creativity is recognising it. Returning to the
The first of Kaufman and Beghetto’s additional
four C’s structure, the ability to recognise and
levels, Pro-C creativity comes between Big
encourage creativity across the four levels will
and Little-c and represents ideas that are
develop a more secure space in which ideas can
groundbreaking within their specific domain
grow. It’s important to reward and acknowledge
but do not go beyond to a global reach. These
the importance of ideas across the spectrum of
ideas come from professionals within their
impact rather than focusing too heavily on Pro
fields who may not have reached the top
and Big-C and disregarding mini and little-C.
eminent level. These individuals include doctors and professors, professional designers
Another key way is to allow space for creativity
or high-level engineers. Often overlooked and
to happen. A rigid workplace without space
underappreciated in creative settings, Little-c
for failure or autonomy will stifle creativity
refers to the everyday creativity that we all
and create a focus on more convergent ways of
demonstrate, or creativity that happens within
thinking. While this may get results, it doesn’t
a specific domain and is therefore not as far
leave space for other more creative or innovative
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On Creativity
Mini-c Personal and subjective creativity
Little-c Everyday creativity in a specific domain
Pro-C Groundbreaking ideas in a specific domain
Big-C Innovative ideas with global transformative reach
Kaufman and Beghetto's four-C Model for creativity.
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Product The ideas and end results of creative processes
Person
Process
Individual characteristics and traits that impact creativity
Motivation and methods during the creative process
Place Culture, climate, context: environmental external impacts on creativity
James Rhodes' concept of the four P's of creativity.
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solutions to be found. By clearly defining goals but providing low pressure spaces for ideas to be explored from multiple angles, more creative solutions can be developed using divergent thinking patterns. This is turn may lead to some surprising results. This further feeds into the need for unconventional thinking to be encouraged, and for failure to be viewed as a learning opportunity rather than a dead end. An individual or team who can be agile and respond to failure as a lesson can more easily use it to adapt and find novel solutions. A final way of bringing creativity more into the workspace is actively setting aside time for it to happen. Providing time explicitly for teams to mix between themselves and with other teams will allow people the space to explore ideas that they may not otherwise have time for, and diversify the solutions to problems. By giving teams space to mix, individuals can often provide novel solutions by seeing problems in a new way, or by breaking out of established thinking styles that may have set in. Establishing these key practices in the workplace should foster a new relationship to creativity and generate more diverse solutions to problems that businesses are likely to face. Creativity in this sense leads to more creativity. By providing the first stepping stones in fostering creative practices, creativity can develop as a new habit for many teams and businesses.
George Bird is a recent graduate from MSc Psychology of Art, Neuroaesthetics and Creativity at Goldsmiths, the first postgraduate programme in the world for the scientific study of aesthetics and creativity.
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Artiq
Asks
He is the interior designer behind some of the hospitality industry's most recognisable spaces. Find out about Martin Brudnizki's most cherished projects, advice and sources of inspiration.
(1)
A piece of art you dream about having at home...There is a painting titled ‘Marriage Portrait
of Isaac Massa and Beatrix van der Laen’ by Frans Hals, which I often reference as one of my favourite artworks of all time. The first time I saw it was at the Rijksmuseum in Amsterdam and was completely enamoured by it. It was painted in the early 17th Century, but it appears so ahead of its time by how at ease and in love the couple are captured in the piece. It would be a dream artwork to own.
The best career advice you've received... There is a quote that my father once said that has stuck
(2)
with me. He always emphasised to
“take care of the here and now, and the future will be ok”, which is something that grounds me in the moment and helps me not to worry too much about what is to come. 100
Artiq Asks: Martin Brudnizki
The importance of collaboration…Working with such a diverse array of interior design clientsm, there is always emphasis and importance placed on a collaborative way of working - from conception to completion of a project. We closely work with them at every stage, ensuring what we
(3)
design works for them on a business level (if we’re working on a commercial project) whilst remaining beautiful and unique to their needs and wants.
(4)
A book you return to for inspiration… A book I always
(5)
Your proudest
return to is Swedish Grace by
achievement...
Gunnela Ivanov, it is a wonderful
There have been
book that documents beautiful
many projects
examples of the movement through
throughout my
architecture, antiques, furniture,
career that have
furnishings, and exhibitions in the
been incredible
early 20th century. Very little has
achievements,
actually been documented about
but Annabel’s in
this era, so it is an incredibly special
London is my proudest and most definitely a stand-out.
book to own. It also heeds to a lot of
It was an honour firstly, to be asked to work on such an
my early design influences growing
iconic members’ club and London landmark, one that
up in Sweden, and the objects my
has been around since 1963 and welcomed every prolific
mother collected and displayed in my
name, from celebrity to royalty. But most rewardingly,
childhood home.
we were really allowed to push the boundaries with our creativity and ideas and for the project, which resulted in inimitable spaces. It was a once in a lifetime project for us. Guilty [design] pleasures... I do not really classify anything as a ‘guilty’ pleasure when it comes to design. But I would say a pleasure of mine
(6)
is my collection of ceramics that
I have built over the years. I used to spend a lot of time travelling in Italy, and I would find the most charming ceramic trinkets and dishes, as well as little ceramic fruits and vegetables that would always make me smile.
1. Portrait of a Couple, Probably Isaac Abrahamsz Massa and Beatrix van der Laen, Frans Hals, c. 1622; 2. © Oli Kearon; 4. © James McDonald; 5. Swedish Grace by Gunnela Ivanov. Published by Kaunitz-Olsson. Image courtesy of Kaunitz-Olsson. 101
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Nostalgic Narratives A conversation with artist and printmaker Adam Bridgland about nostalgia, the visual dynamics of written language and waking up next to people that make you feel happy.
Artiq Adam - you studied Print and Photomedia
growing as a practitioner, and it really takes
at Norwich School of Art and Design before
time to establish yourself within the creative
completing an MA in Fine Art from The Royal
world.
College of Art in 2006. What first prompted you to become an artist?
Artiq From printmaking and painting to sculpture - you work with such a wide range of
Adam Making art always seemed right and
processes and materials. How does your practice
never a challenge. For me it was just fun and a
change based on the medium you're using, and
way of expressing myself. From an early age,
does different material allow you to express
I loved drawing birds, planes and racing cars
different ideas or concepts?
and the appreciation I received for my works from my family and friends probably planted
Adam I have never tried to tie myself to any
the seed that I was okay at making imagery. I
medium. I think it is dangerous from a career
was very fortunate that my family took me to
perspective to say “I am a printmaker” or “I
museums and exhibitions and from there you
am a painter”. Why should you pigeonhole
can see that art is something you can do as a
yourself when being able to make and create is
grown up! I think however it takes a long time
so liberating? I am interested in all mediums
to understand this and fully embrace the title
and depending on the project I will work and
of an artist. I am now in my 40’s and I think
choose whatever I feel works best to the brief.
it is really only in the last 5 years that I have
I suppose I am quite like a project manager
felt comfortable in saying I am an artist! Maybe
or designer in that way. I have always worked
this is because you are always developing and
better when a concept and deadline is given.
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Photography by Amber Rose-Smith.
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Photography by Amber Rose-Smith.
I like there to be a start, middle and end, a
to use external studios to make work I had to
framework to work within. However, throughout
be more resourceful with the ephemera kept
my practice you will see a link to print. I have
within my home studio.
always been interested in the multiple and how an artist can manipulate the idea of the repeat.
Artiq You often reference British idioms, lines of poetry or stock expressions, adapting them
Artiq You often reuse found objects in
in a way that may seem revealing about the
your practice, such as postcards or vintage
mundaneness of everyday life. Equally to the
photographs. Is this act of recycling important
meaning, typography is another central element
to your creative process, and has this changed
to how you approach working with text - how
over the course of your career?
do you think about visual appearances of the written word alongside linguistic impact?
Adam I have always been a collector and my studio is full of old photographs, guidebooks
Adam For me text is a way of instantly getting
and postcards. I suppose as your artist practice
the attention of the viewer. The best texts
is a continuation of your identity, I have always
though have two or three meanings and I
been interested in using found imagery and
hope that people when viewing the work see
appropriating this in my works. I suppose that
this and get this hidden depth, alongside the
the lockdowns in 2020 from Covid amplified
connection to the appropriated imagery. I have
the use of this imagery, as without being able
always written poetry and music alongside
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Upon Every Wave Our Wellbeing Rides (RNLI), 2023, unique work, enamel, spray paint and crayon on found image.
I Need This Wilderness For My Heart To Beat (Kingfisher), 2023, unique work, enamel, spray paint and crayon on found paint by numbers image.
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taking notes about the everyday and the world
patch or pin badge that someone’s takes away,
around me. I suppose I am trying to romance
it is an object that can be held as a token of my
the mundane as I think there is a lot of joy and
practice, of my identity that in turn informs
beauty in this, which we tend to ignore as the
that person’s identity.
white noise that surrounds the highlights! Artiq From Croydon to Kyoto, you have Artiq Something that has previously been said
exhibited works around the world. How do you
in relation to your practice is how it carries a
feel these places, environments, and cultures
“sense of loss and nostalgia that permeates our
affect the impact of your artworks?
memories of distinctively British sentiments.” Can you tell us more about what you think is
Adam Travel and explore as much as possible,
uniquely nostalgic about British culture? And
this will give you a much more rounded
what do you think we are nostalgic for?
perspective about life and culture. Being able to exhibit in a range of places is such a huge
Adam I am not sure if I have completely
honour, and the experiences that I have gained
figured this out yet in my practice! So far I
from these visits feeds back into my art practice.
think there is a comfort and safety in nostalgia which helps people understand the everyday
Artiq You've previously spoken about the “rose-
and build confidence in the future. I also think
tinted, wistful spectacles we don when thinking
we are constantly trying to understand our
of the past, as well as the future”. Do you look
identity, who we are and what have we come
at the future with rose-tinted glasses? If so,
from. I am not sure if we ever really understand
what do you see?
this and that is why we return to text and imagery.
Adam At the moment I am just very grateful that people are taking notice and appreciating
Artiq Has your practice impacted your thinking
my work. For me I hope this continues for many
around ideas of identity, belonging and,
years. The small orbit around me has been
fundamentally, about Britishness?
very kind recently and no one should ever take this for granted. Be humble, nice and surround
Adam I have always been fascinated by fan
yourself with loving family and friends.
clubs and how this bookmarks moments in our lives. As a child I was part of the Lego club,
Artiq Some artist's work we only ever get to see
the Beano club, the Airfix club, I collected
in traditional gallery settings, with white walls
Panini stickers. It gave me a sense of belonging
and perfect lighting. We've had the pleasure of
and this was fortified by the fact you received
seeing your work installed in public collections
badges, certificates, and gifts. Art and music
and commercial institutions, in the centre
are very much like this, and your appreciation
of cities and on beaches along the Suffolk
is a continuation of these childhood clubs.
coastline. What kind of setting would you like
They define are personality, give us a sense
to see your work in next?
of identity and belonging in the everyday. Throughout my artistic career, for many of my
Adam I have always looked to present my work
projects I have created works that everyone
in a number of places. I won’t wait for things
can feel part of, whether it is an embroidered
to happen so if I can create interventions in
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You Are The Dawn After My Dark, marine ply sculpture, in situ on Lowestoft Beach Suffolk for First Light Festival, 2021.
the everyday this keeps me and my practice
Wilderness For My Heart To Beat” and
exciting. I am also interested in affecting
“Wake Up Next To People Who Make You Feel
people who perhaps don’t traditionally consider
Happy.” Without these I wouldn’t have a career
art or would visit a gallery or museum. Art
or the pleasure to be answering these questions.
and creativity is hugely important in our everyday thinking and expression. If I can influence the few by installing a sculpture on the Suffolk coast for example and from that the viewer looks at the world differently and starts exploring something new, something not considered before, then I think my practice has done a good thing. Artiq Do you have a favourite line or quote you keep returning to? Adam A favourite line of mine is “While we have this moment please say something cinematic.” However, it isn’t everyone’s favourite, so I have to salute “I Need This
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AI in Creativity: Tool or Collaborator? Tommaso de Benedictis, curator at Artiq, on the influence, apprehensions and ethics surrounding the rise of artificial intelligence in the creative industries.
At some point in our lives, whether we like
production is protected while at the same time
it or not, we have engaged with some form
expand creative possibilities and push the
of Artificial Intelligence. The ever-learning
boundaries of art, design, and architecture into
technology, emerging straight out of a sci-fi
new domains?
novel, continues to find new applications across most aspects of our daily lives, and looks like
Generative AI platforms such as ChatGPT,
it’s here to stay. But what does this mean for
Midjourney, and the Generative Fill tool on
the creative industry? Where do we see the
Photoshop have been gaining popularity
relationship of AI and creative work heading
not only in the creative industries but across
in the future? How can we ensure that creative
many different sectors. Generative AI can be
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used to create new content, including videos,
library due to the lack of transparency around
audio, code, images, text, simulations, and
authorship1. A US Court ruled in August 2023
videos based on given prompts, which can be as
that AI-generated images are not eligible for
simple as one word or as complex as a paragraph.
copyright. This is because “human authorship
Recent breakthroughs in the field have the
is a bedrock requirement of copyright” and
potential to drastically change the way we
that copyright has never been granted for
approach content creation (see image below).
work that was absent of “guiding human hand”2. However, we must remember that when
While some creatives remain sceptical about the
photography was popularised it wasn’t allowed
new technology, many of them have embraced
to be copyrighted because it was considered
it and incorporated into their practice.
simply as a mechanical reproduction3. It took several decades before policies were introduced that recognised the human ‘hand’ or human ‘agency’ behind a photographic image. Interestingly, the term used by the US Supreme Court in the constitution’s copyright clause considers photographs as ‘writings’, in the same way that authors have exclusive rights over their ‘writings’. In the future, the written prompts that we feed Generative AI models for an intended output might also be considered ‘writings’ since they are created by human agency. The grey areas surrounding copyright and authorship in AI-generated images are
Image generated on Fotor.com with the prompt "Portrait of a pug in the style of a Renaissance painting".
something that policymakers today need to contend with hard and fast. The creative industries add £108 billion to the UK economy every year, so if policymakers get it right for
There are a plethora of concerns revolving
creatives, they get it right for the economy.
around the use of Generative AI technology:
While there are legitimate concerns about the
questions around authenticity and authorship,
use of Generative AI in the creative industries,
that content created by generative AI models
there are just as many legitimate benefits.
is often derivative and predictable. Potential
Increased efficiency and cost-effective work,
job losses, data scraping, unethical uses and
quick decision-making with faster turnarounds
applications are also of great concern. At the
and workflows, democratisation of and a
top of the list is the idea these technologies
springboard for creativity – these are just some
are fed huge amounts of datasets built on the
of the advantages that Generative AI systems
work of countless contributors, more often than
can offer.
not used without their consent. Getty Images, for example, recently announced they will not
Betty Leung, a contemporary London-based
accept any AI-generated images in their image
artist, is one of the creatives who has actively
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Peripheral Interpretations XIII, Betty Leung. Image courtesy of the artist.
engaged with AI systems and incorporated
the countless contributors whose work, images,
them into their artistic practice. Working
words, and data the algorithm is built upon (the
across different mediums, from sculpture
intensive labour that drives these technologies
to video art, Betty is most interested in the
is often obscured, with companies taking
creative misuses of AI and Machine Learning
credit for the output). The notion that AI-
systems. She engages with these systems in
generated content is made up of hundreds, if
unintended ways, subverting their productivity
not thousands, of layers of information, draws
and recontextualising their output. While
an uncanny parallel to the artist’s own multi-
she resists making work faster, she hopes this
layered history: from growing up in Australia
technology can extend her independence and
of Chinese descent to living and working in
ability to make art for as long as possible, even
London today.
when her physical dexterity and energy are limited and sight poor(er).
In Betty’s sculptural ‘Interpreter’ series, AIgenerated images alluding to the artist’s own
For Betty, these AI systems are sometimes
past and identity are printed onto fabric and
used as a tool in her practice, in the same way
moulded into amorphous, tubular shapes that
a camera is for a photographer, while other
are knotted together, free falling to the floor
times she considers them a ‘collaborator’. More
like spilt guts. The AI-generated images that
precisely, she sees it as a collaboration with
Betty uses for her sculptures are unrecognisable
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in the same way that Generative AI systems
Whichever way it evolves, AI technology opens
don’t offer a clear-cut view of the data that
up huge possibilities for the future of the
they’ve been trained on.
creative industries.
When researching material for this article, it was difficult not to dodge all the eschatological ruminations about what this technology holds for us in the future. Betty, however, has provided some real-life suggestions on how
Tommaso De Benedictis, Associate Curator at Artiq 1.
Getty Images Bans Ai-Generated Images Due to Copyright Worries, Artnet News Online, https://www.artnews.com/art-news/news/ getty-images-bans-ai-generated-images-dueto-copyright-1234640201/
2.
US Copyright Requirement for ‘Human Authorship’ Enforced in AI Test Case – But That “Bedrock” May be Changing, Stefanie Drawdy, The Institute of Art & Law, https://ial. uk.com/us-copyright-requirement-for-humanauthorship-enforced-in-ai-test-case-but-thatbedrock-may-be-changing/
3.
The Evolution of Copyright Law, U.S Copyright Office, https://www.copyright.gov/history/ copyright-exhibit/evolution/
to engage with AI ethically today so as not to exploit other’s labour - a sort of guideline that keeps evolving alongside the technology: •
Acknowledge that Generative AI tools are built on datasets containing work of artists and illustrators taken without compensation, consent or knowledge.
•
Be transparent about the tools and prompts that are used.
•
Don’t imitate or use the names of living or individual artists in your prompt.
•
Share and credit your references and inspirations.
•
Consider using materials from and contributing to Creative Commons.
Still in its infancy, AI technology is improving at an exponential rate. Fifty years ago, the idea of conversing with a computer named Alexa was pure science fiction. In another fifty years, how are we going to be using AI? We’re at the cusp of something big, and although historically we have always been terrified of the unknown, AI is here to stay, and we should embrace it (I sigh with excitement peppered with disconcertment as I write this). Finding solutions to giving credit to artists whose work has been used for training generative models is key to protecting creator’s work in the future. Art has a history of intention - will AI have its own intention in the future? Will we continue to use AI as a tool, or will it have its own agency and act as a collaborator?
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Studio Lenca: Crafting Belonging From undocumented status in the U.S. to a permanent residency at TKE Studios in Margate, we speak to Studio Lenca about reclaiming narratives through their art while creating space for their community to do the same.
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Photography by Benjamin Eagle.
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Isabelle Your story starts in La Paz, El Salvador,
Isabelle Alongside visual arts, you also express
in the mid-1980s. Today, you are based on the
yourself creatively through dance, practising
south coast of England, in Margate, Kent. From
ballet and contemporary dance since growing
then to now, can you tell us about three pivotal
up in San Francisco. Like visual arts, dance can
moments that shaped your journey to where you
be seen as a universal language that can tell
are now, both geographically and in your role as
stories and express complex emotions without
an artist?
using words. For you personally, how do these disciplines impact each other?
Studio Lenca I’ve had so many pivotal moments throughout my life. These have occurred in a
Studio Lenca The act of painting for me is an
geographical sense and in terms of my practice
embodied practice. I see dance and painting as
as an artist. A few important moments have
overlapping disciplines. Decision making when
been attending Goldsmiths University where I
I paint is like improvisation when I dance.
trained to be a teacher and gained my MA. Last
Composition on the canvas is choreography.
year I was offered a permanent studio space at
Being illegal in the USA requires dexterity,
Tracey Emin’s TKE studios in Margate- which
sharp reflexes and timing – it’s like being a
has meant I can work in a beautiful building
dancer. I like to imagine the figures in my
surrounded by an inspirational group of artists.
paintings dancing to Selena Quintanilla or
At the start of 2023 I had a solo show at the
moving balletically through elaborate
Parrish Art Museum in New York, where I
bureaucratic processes in the glare of homeland
connected with the local Latinx community
security. Each aspect of my practice feeds into
that service the houses in the Hamptons.
the other.
I learned so much about my practice and some of the issues that impact my community in
I don’t think I will ever move away from
making this work.
painting but sometimes the thinking and research takes on other material forms. Such
Isabelle The figures in your work demand
as working with community, movement or site
attention from their audiences, always painted
specific pieces.
in bold, vibrant colours and wearing large hats. The shape, which has become a signum of sorts,
Isabelle 'Rutas' is a project you initiated last
feels both symbolic and personal. What is their
year: a space where individuals who have
history, and how come they so frequently appear
undertaken undocumented journeys can
in your practice?
share their experiences through painting. You have said the project is 'documenting the
Studio Lenca I want the figures in my
undocumented'. Growing up, did you have a
paintings to be self-assured, proud, courageous
similar community or role models with shared
and visible. The hats are about taking up
histories to look up to?
space and asserting identity. Growing up undocumented as a family we felt like we had
Studio Lenca Because these journeys are
to hide, to not be too loud, to be un-seen. The
undocumented they are not recorded and
paintings are meant to create a space not just
remain hidden. They were also associated with
for belonging, but flourishing.
an unnecessary sense of shame. This project
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From the project 'Rutas', 2023, Studio Lenca.
La Libertad, 2023, Oil and acrylic on canvas, 150cm x 120cm.
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Cobija, 2023, Oil and acrylic on blanket, 183cm x 222cm (acquired by The Pérez Art Museum, Miami, USA).
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Studio Lenca: Crafting Belonging
La Paz, 2023, Oil and acrylic on canvas, 200cm x 200cm.
is about reclaiming the narrative and making
Studio Lenca I’m fascinated by how pre-
these stories visible, as an important part of the
Columbian civilisations used maps which
history of our community.
embodied different forms of knowledge. Maps were also weaponised by colonisers, such as
Isabelle Your art tells the story of migration
Spain’s Padrón Real. These practices exist to
and the experience of being an undocumented
this day. Maps and borders are one way that
immigrant. Although this story is far from
political and social inequalities are upheld.
unique - there are an estimated half-million
This project is about creating different forms
illegal entries into the United States each year
of maps that are about human stories. For too
- it remains largely untold. How do you wish to
long migrants have been scapegoats. We’ve been
reshape this narrative through your practice?
vilified as dangerous intruders or invaders.
What message do you hope your audience takes
Crossing a border and surviving these really
away from your work?
dangerous journeys are huge acts of bravery
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Photography by Zac Gates.
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and survival but also of imagination. As many continue to die on their journeys, they are driven by the vision of a different future. Being an artist is an equally imaginative act and shares with these journeys across borders a sense of hope. Perhaps the narrative needs to be one of migration as an act of creativity and imagination, against invented borders and walls set out to dehumanise and control us. Isabelle Having worked as an art teacher in a London primary school, what was something you always told your students that you still live by now? Studio Lenca There are no rules, it’s just about trying. Isabelle Your studio is currently based in TKE Studios, created by the Tracey Emin Foundation. What has inspired you most about being there and how is this reflected within your work? Studio Lenca I love the community and being by the sea. It’s amazing to work with such a diverse and dynamic group of artists. Isabelle We are speaking at the beginning of a new year. What do you hope 2024 will have in store for you? Studio Lenca I’m looking forward to my solo show at Carl Freedman in April. It’s going to be my most ambitious exhibition to date. Isabelle Finally, what is your favourite colour? Studio Lenca Pink.
Isabelle Guyer, Curator at Artiq
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BENEFITS FOR ARTISTS WORKING WITH INTERIOR DESIGNERS Receive feedback and opportunities to collaborate. Working in collaboration with interior designers and curators, you may receive feedback and guidance on your work during a project. This can come when working on commissions that are site specific, perhaps adjusting scale or colour to harmonise more impactfully with the setting. Portfolio review, guidance on pricing or digitalising an artwork in high resolution are some examples of support and collaborative learnings artists may expect. Enhance your portfolio. Projects with interior designers are great opportunities to develop your practice. Often, works will be required to be highly unique or tailored to suit a location or a specific narrative. Your artworks, whether purchased from your portfolio or commissioned bespoke for the project, will be captured in a diverse range of real-life settings, this diversity can attract a wider range of clients based on your ability to show creative adaptability. 120
Target new audiences. Working on projects with design studios, brands and creatives themselves can push your artworks towards new and wider audiences that may not have discovered your work if displayed solely in a gallery environment or online. Interior designers often work with luxury hospitality developers whose aims are to target and impress an international market of cultural connoisseurs. Many of whom may also be avid art collectors themselves.
A Curator's Article Title Take
Get paid for exhibiting your work. You will be paid to have your work exhibited in unique and beautiful locations within the hospitality industry. Your works may travel countries, continents and hemispheres across the world, whilst you are being paid for the sale, commission or lease agreement. Often with gallery exhibitions artists may be expected to display their work for no fee in exchange for exposure. Interior designers and curators will ensure equitable artist fees are set and adhered to. Gain further opportunities from your successes. Successful projects will lead to more opportunities to create more art. Completing projects with interior designers will benefit your portfolio and enhance the likelihood of opportunities for future commissions. Part of what makes a project successful also comes from building professional relationships with your curator, project manager or suppliers within the industry. Networking consistently can lead to further collaborations and future projects.
Gain access to high-profile projects. Interior designers often work on high-profile projects with repeat clients or within large groups of property developers and owners. Their project opportunities can be a fantastic way to gain knowledge of a growing industry whilst seeing your works be displayed in some of the most sought-after travel and leisure destinations in the world. Gain valuable project experience. You will develop key skills and knowledge associated with the running of large-scale projects in the creative and hospitality sector. Collaborating with interior designers will provide insights into the detail-oriented concepts surrounding design principles, colour theory and the practical concerns of functionality in design. There are always timelines, deadlines and iterations involved in projects developing artwork collections and design schemes, and it’s fantastic to have an understanding as to the decision-making steps involved.
Present a strong voice through your art. When working with interior designers your artworks will be presented by curators to enhance a sense of place, mood, emotion or storytelling within the project, whilst the interior scheme is kept closely in mind. Through this collaborative discourse we are keen to understand your creative process and your lived experience as presented or imbued within your artwork and creative practice. You are encouraged to impart your own storytelling through your artworks, influencing the narrative and tone of the project. 121
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BENEFITS FOR INTERIOR DESIGNERS WHEN USING ART IN PROJECTS Original artworks stand out. Making those first impressions count. It is so exciting for guests and clients to have unique artworks curated well for their arrival into a new setting; it’s a great opportunity to show off your creative design work. Being bold and incorporating original artworks by local talent can layer a final sense of materiality into your finishes and fabrics – think textured paper, ceramics, impasto oil paints or wood carved sculptures. The tactility of artwork never goes unnoticed and is such a standout moment when elevating an interior. Artworks can add a focal component of uniqueness. Standing out from competitors has never felt more important in the widely expanding hospitality and residential project landscape, and artwork is a great tool to do this. 122
A Curator's Article Title Take
Art brings a focus to your marketing. Once a project comes to completion it may see a launch or opening or be put on the market to be sold. Marketing will support the project to reach as many potential guests, buyers or experts as possible and the artworks shown in the photography will enhance this reach and impact. We often see architectural and interior designers renting artworks ahead of a project being sold to a final buyer purely to market that sense of place, home, familiarity and cultural pizzazz. Support living artists & their careers. Perhaps most importantly, working with artists and folding creatives and makers into your interior design projects supports the wider creative economy. Supporting living artists ensures viability to their careers as creative professionals, they have a vision and a story to share which is shared with all foundational components of design work. Extending your vision to incorporate artists has the potential to support multiple careers and communities. In turn artists can supply artworks that will harmonise with the interior design scheme, artworks that will layer on top of the materials, finishes and colour palettes and artworks that will deliver impact to every space. Increase the value of your client's new space. Artworks can help create the best possible space for your clients. Providing them greater investment in their new interior through the inclusion of an art collection. Art holds value which grows over time, and sourcing emerging talent will enhance the value of the setting as future investment. Provide authenticity by engaging local talent. With projects possibly stretching globally, it is important to tap into the authenticity and appeal that draws guests to specific locations. Be it the cultural heritage, geographical uniqueness or a vibrant nightlife – all components can be pulled into design choices to make guests feel right at home in their chosen stay. Working with local artists who can imbue a sense of their own lived experience is the most authentic way to highlight materials, pigments, compositions and stories that hold the key to understanding a sense of community or place.
Artists can offer insight & solutions to challenges.Working with artists can provide new perspectives and creative solutions to challenging interiors. Artists who have experience positioning their works in unique settings outside of the standard gallery model are adaptable to working with the setting and the requirements of a project. Oftentimes, artists can lend their skills to create commissioned works that are able to disguise access panels, unwanted architectural features, or use their work to highlight and celebrate a buildings uniqueness or character through thoughtful and highly bespoke solutions.
Win over your prospective clients. Forget the last minute google search or stock image archive scrolling, it is a game changer to have access to research that has been recommended by curators and sourced directly from artists that are local and relevant to the narrative, colour palette and budget level of your project. This will surely wow that new client and kickstart a project with tailor selected artworks dropped into your concept CGIs as a well thought out and personal touch.
Beth Fleming, Associate Director, Curatorial at Artiq
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We’re Artiq, the international art agency creating impact with culture. Our business creates more opportunities for artists, more art experiences for people and is fostering a sustainable arts economy in which creatives can grow and thrive. Find out more at artiq.co or get in touch at hello@artiq.co Artiq 1st Floor 23-25 Great Sutton Street London, EC1V 0DN +44 (0) 20 3137 2101
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Acknowledgements
A publication like this is only possible with the collaboration of a great number of creative and intuitive minds. As always, a huge thank you to the entire Artiq team for your endless creativity, diligence and inspiration. Thank you to the contributing writers from the Artiq team: Beth Fleming, Meela Thurloway, Molly Coffey, Tommaso de Benedictis, Amrin Mangat, Tazie Taysom, Henry Dowson, Isabelle Guyer, Riki Auton, and Isaac Huxtable. A huge thank you to Nathan Grace, Fatoş Üstek, Amanda Parker, George Bird, Lucy Puddle, Phineas Harper, Cyrus Mahboubian, Rebecca Newnham, Anna Higgins, Ben Topping, Ana Benavides, Jesse Akele, Adam Bridgland, Studio Lenca, Martin Brudnizki, North Design and everyone else who played a part in the making of this volume. And finally, to Lovisa Ranta and Sophie Viet-Jacobsen for bringing everything and everyone together. Cover image from the studio of Ana Benavides.
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