Where next for art in Manchester?

The announcement of the fortunate few recipients of the Government’s Arts Council England (ACE) funding scheme is due by the end of March. To put it bluntly, thanks to irresponsible bank management, public money that could have been used as funding for the arts has already been distributed as bankers’ bonuses and to rub salt in the wounds we now live under the rule of a government convinced that a regressive state is the answer. As a result, even those who usually expect funding wait with bated breath. This has affected Manchester groups in differing ways; Ian Pennington spoke to representatives of Mooch N4 Street Art Gallery and Blank Media Collective, two examples of local groups with contrasting responses to the cuts.

To set the scene, a 10-year strategic framework was published under the title of Achieving great art for everyone last November and, as the result of what the Arts Council North West’s spokesperson describes as “major consultation with all those involved or interested in the arts,” Arts Council England is certain that it represents the best option for everyone, particularly given the circumstances of the recession’s playing field.

You’ll be aware of the recent cuts to public spending, I’m sure. Here’s a quick recap on how the ConDem blade fell on the arts: last October the Arts Council England (ACE) announced a 29.6% cut to their budget over the next four years, with 6.9% immediately trimmed from the majority of funds previously announced for 2011/12, and its Chief Exec Alan Davey adding that he expects the ruling to have “a significant impact on the cultural life of this country.” Then in January the inevitable scramble to the top of a thinning money tree was reported by ACE; the consequence is that “approximately 1,340 arts organisations across the country [have] submitted a request to be part of the new portfolio.”

Davey, in something of an understatement, admits via the ACE website that, “demand for funding will outstrip supply.”

Many will be left without the funding that they hope for, although it’s worth remembering that some Manchester arts organisations have been coping well enough without public funding. But that isn’t to say that public spending won’t affect currently non-funded arts projects, at least indirectly.

Certainly, by the time the cuts have filtered down through the hierarchy, smaller independent groups will be left to feed on scraps. Christina Pavlou, former curator at the recently closed Mooch N4 Street Art Gallery and now unemployed, makes the point that lack of funding for other local organisations can have a knock-on effect to those operating in related industries. “The strain can still be felt in the privately funded sector. With Mooch N4 we were completely independently funded, with the income on sales supporting the payment of staff, rent, electricity and publicity. There was a definite drop in sales when the arts cuts were announced, and as a result we did not have the income to stay open. We decided to close rather than change our independence by getting funding and having to follow what the government man says we should do.”

The final point is salient. There are benefits to remaining free from funding in that ticking boxes to adhere to application regulations doesn’t have to clog up your to-do list. However, it does make life more difficult when you’re forced to organise and promote shows under your own steam, something that Pavlou has persevered with under the HldTght moniker.

Of the Arts Council’s expressed funding goals, one seems most relevant given much of their upcoming work could potentially revolve around alternatives to funding: “Goal 3: The arts are sustainable, resilient and innovative.” Reading between the lines, this aim essentially exists to encourage non-funded artistic practice and to diminish reliance upon the Arts Council to make a living in the arts.

This is a mindset that Blank Media Collective has adopted from the outset. Their DIY mentality has led to a gradual and organic growth over the past five years, culminating in a new home on Hulme Street, BLANKSPACE, which was formerly the easa HQ. Talking after their successful launch party at the new gallery space, the Blank Media Collective Director Mark Devereux insists that all is not lost following the cuts. “There are potentially both good and bad implications and time will only tell over how each organisation, gallery, artist and creative reacts and responds. As the Director of a small arts organisation I feel our role is now even more integral in making sure the platform and opportunities are given to emerging artists and nurturing the future artists for the next generation.”

However, the funding question rears its head here as well. Compared with Mooch N4, Blank Media’s attitude differs in the sense that they seek Government funding where possible, but have the foundations in place to maintain their work on a tight budget. To take the next step Devereux admits that Blank Media will require some outside monetary help, “[we are] currently working on a number of funding applications to help the future of the organisation, increasing the support we are able to give to emerging artists. We are well aware this is our next big challenge, however because of our background of implementing projects on shoe-string budgets we know we are able to continue our work even without any external funding.”

The overriding sentiment is one of stoicism; it’s not exactly business as usual when the goalposts have moved and narrowed, but there’s no point crying over a pot of government gold that has long since been spilled into the coffers of flagrantly foolhardy bankers. “If we start worrying about how the cuts will affect this, that and the other it will spurn creativity even further,” offers Devereux. “Groups should work within their means, continue to create platforms and raise the interest in the fantastic work by the artists they support. We should do what we are good at – think outside the box...”

Words: Ian Pennington
Images: Courtesy of Blank Media Collective

[An edited version of the above article appeared earlier this week on the Manchester MULE website]

Arts Cuts and the Manchester Response

The Guardian recently reported Bank of England Governor Mervyn King’s analysis of the public spending cuts. "The price of this financial crisis is being borne by people who absolutely did not cause it," he said. "Now is the period when the cost is being paid; I'm surprised that the degree of public anger has not been greater than it has."

So here we are, seemingly in a reality that values a visit to the bank over a visit to an art exhibition. Those CEOs and board members of multinational banks with gut-wrenchingly high bonuses have not only twisted the system to suit their sordid greed and manipulate many a populace into economic meltdown, but now, by electing a government set upon finishing the job, the clarity of shooting ourselves in the other foot is all too vivid.

As far as the arts are concerned, there has been some local resistance so far. The recent Artists’ Bonfire at Islington Mill is one example and its co-organiser Rosanne Robertson lauds the “definite sense of camaraderie and passion that I have never witnessed at an art event before.” There is more to follow, as The Artists’ Bonfire will next radiate its embers in the Big Smoke of the south, London, with the aim of building on the foundations that will have been laid by the March for the Alternative protest event on 26th March. Robertson is enthusiastic about the possibilities of the second Bonfire event and encouraging participation and awareness can only be of help to the arts as she aims to “add fuel to the creative fire.”

However, Robertson laments the circumstances that have paved the way towards this scenario of belittling artistic pursuits. “For many people art doesn’t seem to factor into the equation as something that should be saved in these circumstances, whereas threats to libraries or the forests get a wider response as perhaps not everybody has a relationship with art. I think a lot of the time people see it as a small selection of people asking for money to fulfil a hobby and, with the Government using the arts as a soft dispensable target, they back that up on a national scale.”

Christina Pavlou, who is a proactive figure in Manchester’s street art scene, offers a slightly different perspective: “People are losing their jobs and galleries are shutting down, but art will always be viewed as a luxury product. We don’t need art in our homes, but we want it and I think small groups can still make exhibitions, shows and events happen. I am more concerned by the closure of libraries and getting rid of some youth work teams.”

Pavlou, formerly curator at Mooch N4 Street Art Gallery until the cuts indirectly prompted its closure (“There was a definite drop in sales when the arts cuts were announced, and as a result we did not have the income to stay open”), recently curated the HldTght live art exhibition and afterparty in the Soup Kitchen’s basement “on an £80 budget and we made most of it back. There were around 250-300 people at HldTght who enjoyed a night we put on for a fraction of what most people pay.”

But when you only make most of your outlay back then such enthusiasm will remain in the realm of extra-curricular, meaning less time can be afforded to it and the results will be less frequently enjoyed. For many the arts may be a luxury, but for others they are a livelihood and the luxury for one can less easily be retained and continued without the livelihood of the other. Robertson favours a stronger public sector: “If organisations disappear or start having an entrance fee then access will be restricted, further marginalising groups who may not historically engage as much with art. I think that free access to art, culture, broadband, knowledge and literature should be a basic right and that in some places the removal of an art centre or a library can mean the loss of all of these things to a large number of people who don’t have the money to access these things any other way.”

“There is a new philistinism that threatens not just art galleries, museums and centres but art and culture in primary education, music in community projects and university humanities and arts departments. There has to be an orchestrated resistance by the people who understand the value of arts and culture.”

Part of that resistance has been organised by another attendee at that Bonfire, Ian Hunter, who is also a Director at the Littoral arts trust and co-ordinator of the upcoming Merzweek event later in March. He pledged to the fiery fate a framed photograph depicting a scene from the Degenerate Art exhibition (Munich, 1937), at which Nazi goons displayed artwork in a derogatory fashion to exemplify their perception of its lack of value to society. Hunter’s speech commanded the full attention of the gathered circumference as he explained how those derided artists were deported so as not to stain the Nazis’ Aryan vision.

To take that comparison a step further, it could be argued that, by diminishing arts groups’ access to the state’s economy, a similar tactic of exclusion is taking place.

Hunter’s parting encouragement before the flames died down was to “work together, act together in solidarity, in generosity, in reciprocity,” which will in theory be the underlying aim for The Uncut Society event and workshop at Madlab tomorrow, Saturday 5th March. It will be an open meeting encouraging everyone from artists to NGOs via community groups and political arts movements to attend with a view to setting up an informal coalition or network.

There will also be a further reaching protest tomorrow, 5th March. Manchester March Against the Cuts begins at 12pm at All Saints' Park on Oxford road and will continue until around 3pm. Make the effort to go along and make your voice heard, before Rupert Murdoch inevitably seeks to use his ever expanding media arsenal to shoot down opposition.

The attitude of hope for the future exuded through Hunter's parting words will be invaluable for the arts during this period of forced austerity. Pavlou is also confident that art will find a way through it: “In an economic downturn artists always speak out and significant art movements always appear. So I think something good will come for the arts, we are living in the wake of the YBAs and this should be the prompt for our generation to hit the art market and the press again.”

Finally, she adds as an afterthought: “Oh and carry a marker pen at all times, you never know when you’re going to pass a poster of David Cameron...”

Words: Ian Pennington

HldTght Interview

HldTght are a new curation collective in Manchester. Now Then hung out with one half of the founding duo ahead of their debut exhibition at Soup Kitchen this week. Until the beans were spilled last week they kept their identity hidden – even from their best friends. You might say that sounds hella pretentious when combined with their vowel-less name, but it stems from a certain necessity. Which all makes it seem really serious, especially when you have to write it down in an interview.


"It's not serious. The exhibition is fun, but generally the part of the art world in Manchester we work in is really constrictive. As you would get working in such a social community, everyone knows everyone. And the same people are being put in exhibitions together time after time. Then it can go two ways – either everyone starts feeding off each other in a progressive way, or people just start seeing the same influences and don't push themselves in the positive directions their talent deserves. You get disillusioned and uninspired and obviously it takes the fun out of making art. HldTght is about encouraging artists to work outside of their normal practice, with no pressure attached to selling their work or for the work to fit in with their 'aesthetic'.”

What’s gone wrong in Manchester particularly?

“There is a lot of talent in Manchester, but there are very few venues or organizations that will put on shows of artists’ work if they don’t feel any of it will sell, and they don’t have funding to cover their costs. Free For Arts Festival is starting to go some of the way towards making things happen - motivating artists to get up and find unusual venues for events, but it only goes on for one week in October, and everyone who takes part is supported under the welcoming arm of the Free For Arts press machine. Sketch City and Upper Space have both faded into the dust and soon Mooch N4 Street Art Gallery will be gone. All these projects prove that there is a lot of interest [in the city], but unless there is someone there to drive the talent and push things to happen, nothing will. HldTght is starting something new, completely funded out of our own pockets. We want to prove to ourselves and to Manchester that you can put on big shows, with big names for little to no money if you have the drive.”

“HldTght is about immediacy, it’s about not waiting for a gallery or bar to call you up and ask you to hang some work. We saw a space we liked and decided to put a show on. Six weeks later I am surrounded by people spray painting on the walls and hammering structures together. There needn’t be red tape and proposals and funding applications, there just needs to be the desire to give the city something it is missing out on, and something to talk about.”


So why the secrecy over who you are?

“We knew if we'd said it was us from the start some people would have doubted how ambitious it is, seeing as we're friends with many of the artists. Creating a name and theme was what we needed to do first, then by keeping our personalities hidden it allowed us to be anyone, someone ‘important’ even, and see what great ideas the artists had in return because they really felt they'd need to step up because they had been contacted by a 'curation collective', not by 'their mate they saw last night'.”

That makes it sound like it’s the same group of people you said were being put in exhibitions together all the time...

“Of course it's not just about putting on people we know, we've got 30 great artists in different disciplines, really big names like Agent and Penfold [who curated July 2009's edition of our big bro magazine Now Then Sheffield]. We've got elements no-one should expect like performance artists as well.”


How do the pieces come together then? Should we expect something totally unrecognisable from the artists we know well?

“We just told people the basic concept and invited them to come up with fresh suggestions and new work that would fit. From the start the emphasis of the exhibition has always been on trying new things, pushing yourself and working outside of your normal discipline. I’m not asking an illustrator to make a sculpture or performance artists to paint, but I am asking maybe a spray paint artist to work more with brushes, painters to try Poscas rather than acrylics, or to try painting different subjects and ideas within their work that wouldn't normally fit into their practice's portfolio.”

Joyride Playground – we don’t want to come up with some ridiculous thesis that probably ends up using the rubbish word ‘juxtaposition’, can you tell us about the concept?

“Joyride Playground is about playing with something too much until you reach a good or bad point. If you joyride a car, chances are you’re bound to have fun, but you have stolen something that is not yours with the intention of pushing it until you crash or burn it out. Most joyriders are underage and do not have a license, just like all the artists choosing to use new mediums for the show aren't practiced or professionals; they are joyriding on the back of an entire movement created by graffiti and aerosol art when picking up a spray can. We basically want people to stick two fingers up and say ‘fuck you, I don’t know how to use it but I’m going to give it a go and I’m going to have fun doing it.’”


Talking about having fun doing it, it’s fairly rare to get an open studio – is that just because it’s all actually being created on site?

“Having an open studio is really important for us to allow people to come and see the process. I’m always amazed by time-lapse videos of exhibitions, but why watch a video, come down to the open studio and meet the artists, ask them questions and find out how they do things, getting stuck in; it's all about everyone being on the same level. By taking away artists’ safety nets of working under their usual practice, everyone becomes slightly vulnerable. Artists you may have been following on flickr or through blogs become just the same as you and everyone starts to work together, pooling advice and skills.”

nd th nm?

"We liked the idea of 'hold tight' because of the association with playgrounds and fun fairs. The abbreviation [HldTght] makes it sound a little less like something your dad would say to you when he pushes you on a swing in the park, because, let’s face it, we only hang out in parks to drink and smoke these days.”

Joyride Playground exhibition @ Soup Kitchen
30 illustrators, artists, sculptors, performance artists and graffiti writers
Open studio // 13-16th Dec // 12-8pm
Launch party // 17th Dec // 7-10pm // after party babies 10-2am
Runs from Sat 18th Dec ‘til mid-February. Open Mon-Sat 12-5pm

Interviewer: Sam Bass
Images: HldTght