sales (the latter two via associated concerns KIMCHI (KIMCHI HUMAN and PRODUCT RECORDS) – the landscape is pretty much consistent. The STATIC space acts a 1:1 scale physical space and organisational entity that allows us to continually operate and examine issues and subjects that interest us. The structure was designed to allow autonomy.
and Wolstenholme Square inevitably became victim to property developers. However that said, the Ten Streets project in the North Docks has accommodated some of those interesting displaced groups, the best example of which is Kazimier. Now situated at the Invisible Wind Factory, they’ve really risen to the challenge of occupying a larger, more ambitious space with their new focus on production. I see the role of the emergent artists and groups to occupy these types of spaces, and artists/creatives are generally pretty good at that and really without this activity the larger venues will suffer for lack of talent.
2. Are there particular forms of cultural infrastructure that are thriving or under threat? PS: STATIC along with many other venues in the city has been the recipient of a city council Noise Abatement Notice (2011) which has put on hold the use of the venue for any event with Loud Amplified Noise. STATIC was able to reconfigure its activities and income streams but other venues are either still under threat or have ceased to exist.
ST: The ecosystem laid out in the visual arts is also echoed in theatre, and in music. We have a really strong music scene in the city, including lots of great independent music producers who are doing some quite experimental and interesting stuff, from Andrew Ellis up to the Philharmonic. We’re very strong in visual arts – if I compare what we’re doing to say Manchester or Leeds, I think we have quite a lot of artists in the city and I think there’s a strong ecology and infrastructure that can support their development and bring an international dialogue to the table.
The local and national debate around noise in the city is still urgent, particularly in cities like Liverpool where the proliferation of large-scale private housing and retail development coupled with a strong resident and commercial lobby has successfully brought local politicians and council enforcement departments onside. In many cases, the interests of new residents and businesses, many attracted by the ‘cultural vibe’ of the city, has taken precedent over the interests of the long-established venues, many of which programme live music as just one of their activities, but one activity that is crucial to its financial stability.
I think the artform that lacks infrastructure in the city is dance. There’s MDI (Merseyside Dance Initiative) and there’s LIC (Liverpool Improvisation Collective) at the Bluecoat, but I don’t see much contemporary dance coming through the city. When I do present dance, people do come, but you need to build audiences, you can’t just expect them to come regardless – you have to build their appetite and their interest.
MS: As parts of the city were regenerated, some of the smaller, grungier spaces such as Mello Mello
Invisible Wind Factory © Alex Spiers
Cultural infrastructure: Places & spaces for culture 37