https://contemporarylynx.co.uk/hartjobs-look-read-watch-meet-curatorial-officer-roma-piotrowska

Wolverhampton Arts and Culture Curatorial Officer Roma Piotrowska speaks to Contemporary Lynx about her career path and shares her insights for aspiring curators.

Zach Blas, The Doors, 2019. installation view, Edith-Russ-Haus für Medienkunst, Oldenburg, Germany Courtesy of the Artist & Edith-Russ-Haus für Medienkunst.

Zach Blas, The Doors, 2019. installation view, Edith-Russ-Haus für Medienkunst, Oldenburg, Germany Courtesy of the Artist & Edith-Russ-Haus für Medienkunst.

Wolverhampton has been chosen as the first city to host the British Art Show 9, taking place in 2021. The British Art Show is the largest touring exhibition of contemporary art in the UK, giving people in cities across the country the opportunity to engage with work by the most exciting artists in Britain.

The British Art Show will start its tour from 6 March to 30 May 2021 at Wolverhampton Art Gallery and The University of Wolverhampton School of Art before heading to Aberdeen, Plymouth and Manchester.

British Art Show 9 curators Irene Aristizábal and Hammad Nasar were selected by a panel of curators from the Hayward Gallery and the participating cities. They bring international experience to the role and have both worked on major exhibitions in the UK, Europe, America and Asia.

The exhibition will introduce visitors to over 40 artists practising in Britain over the past five years, providing an insight into contemporary life at an extraordinary period in our history.

Artists include: Hurvin Anderson, Michael Armitage, Simeon Barclay, Oliver Beer, Zach Blas, Kathrin Böhm, Maeve Brennan, James Bridle, Helen Cammock, Than Hussein Clark, Cooking Sections (Alon Schwabe & Daniel Fernández Pascual), Jamie Crewe, Oona Doherty, Sean Edwards, Mandy El-Sayegh, Mark Essen, Gaika, Beatrice Gibson, Patrick Goddard, Anne Hardy, Celia Hempton, Andy Holden, Joey Holder, Marguerite Humeau, Lawrence Lek, Ghislaine Leung, Paul Maheke, Elaine Mitchener, Oscar Murillo, Grace Ndiritu, Uriel Orlow, Hardeep Pandhal, Hetain Patel, Florence Peake, Heather Phillipson, Joanna Piotrowska, Abigail Reynolds, Margaret Salmon, Hrair Sarkissian, Katie Schwab, Tai Shani, Marianna Simnett, Victoria Sin, Hanna Tuulikki, Caroline Walker, Alberta Whittle, Rehana Zaman.

Maggie Ayliffe, Head of Wolverhampton School of Art, said:

“We are thrilled to be hosting the first leg of British Art Show 9 in Wolverhampton.

“We are looking forward to welcoming many visitors to the iconic Wolverhampton School of Art. There will be a wealth of opportunities for new audiences, students, school children and the artist community to come and engage with some of the most exciting contemporary art being produced in the UK today.

“It will also be an opportunity to talk to the artists who are creating visuals and giving voice to some of the most pressing concerns of our times. We can’t wait for the conversation to begin in Wolverhampton.”

 

Wolverhampton has been chosen as the first city to host the British Art Show 9, taking place in 2021. The British Art Show is the largest touring exhibition of contemporary art in the UK, giving people in cities across the country the opportunity to engage with work by the most exciting artists in Britain.

Work by Sahjan Kooner

Can you tell me more about the roots of and motivations for the [Discursive Spaces] residency programme?

Asylum Art Gallery LTD is based in Wolverhampton. We’ve worked hard to regenerate two unused and almost derelict spaces in and near the city centre and turn them into inclusive cultural spaces for mentoring, collaboration and showcasing. Unfortunately, Wolverhampton as a borough has suffered disproportionately from a lack of investment, due to spending restrictions because of government austerity across all sectors, especially art, culture and disability. We have seen a significant reduction in community spaces and centres. We also have an incredibly diverse and multicultural community of residents that should be recognised and celebrated. This is increasingly difficult if public spaces to meet are reduced or not regenerated for communal function. The [Discursive Spaces] residency programme looks to enable discussion around the local communities and the spaces they use, or the memories of the spaces that were and how they held communities together in the region. Heterotopias are spaces within spaces, spaces with restrictions to their access. Public space and communal space is difficult to navigate because it simultaneously must be inclusive to all and yet so many layers of restrictions exists around them. Our motivation was to start a discussion around these topics and look at how the outcomes from the artists might inspire future projects of regeneration through culture that enable community led spaces to re-emerge around our city.

Work by Sahjan Kooner

 

How did you select the 5 artists to work with? What were you looking for?

When selecting artists to respond to these research areas, we were looking for proposals that had a strong previous body of work, but also acknowledged the locality of the project. It was always about engaging with what exists or does not exist here anymore, and so this was the deciding factor on whether or not an artist’s proposal has the empathy and commitment to develop outcomes that could be filtered through to our local council and contribute to their regeneration strategies.

We were overwhelmed with so many strong proposals, but we chose artists who had shown a commitment to engaging with a specific local community or building/space. Because of the quality of work that was submitted, we also invited 6 other artists to contribute their research to the publication and the group show at Wolverhampton Art Gallery. These were artists whose practice already engaged with these areas of research but did not need a residency to develop the work further assigned to a local community or space.

Work by Jayne Murray

 

What research have their residencies uncovered?

We are now on our fifth and final residency and the work produced from the artists has been profoundly affecting, engaging and very provocative. We’ve had graphic installations, kaleidoscopic archival projections, skeletal canal boats, representations of derelict urban spaces and an immersive tent installation. There’s a real sense of the visceral in all of the work, which we think is due to the artists’ starting points being local people and their public spaces or lack thereof. With Jayne Murray’s work we discussed the movement and restriction of people between suburbs and city centres due to ring roads and the fear attached to underpasses, which could be vibrant and communal public spaces. We’ve seen years of city topography change and blur through Thomas J Brown’s moving image work that highlighted intergenerational memories of the spaces in their city. David Checkley went and interviewed Urban Moorings CIC and through found canal objects, built a skeletal representation of a canal boat, discussing openly his need during times of struggle to retreat to these beautiful communities and the deterioration of an entire way of living post industrial collapse. Remi Andrews’ work was affected significantly by Covid-19 and she could not physically engage with any local communities or integrate this into her outcome. However, her stark representation of the empty tent within the derelict city, installed on the wall rather than floor (highlighting how setting up a permanent residency in public space like this is illegal and subject to removal) forced us to question why, when we have such a large homeless community and so many derelict or unused spaces, strategies are not in place to reduce or mitigate this.
What have been your highlights so far?

The highlights have been interacting with our local communities and regular gallery attendants. Seeing them engage with people and places they recognised, uncovering forgotten memories or spaces and discussing what they miss or need or long for.
Can you tell me more about the impact of Covid-19 on the overall project? In what ways have the artists and the organisation responded?

Since this was a project motivated by community engagement, interaction and the discussion of improving access to and use of public space, Covid-19 has forced us to completely refocus our last two artists outcomes, including our ability to showcase these to our audience. We had instead provided online essays, photographic and video documentation, an interview with the artists and Zoom Q and As. However, it has also highlighted our concerns as an organisation, for the need of public space and to commit harder to ensuring that communities and the spaces they need are not forgotten, in an economy that is looking to social distance people further through digital platforms as a long-term strategy. We must not let Covid-19 allow people in positions of power to relinquish their responsibility to communal access to space and the shaping of its functionality.

Work by Remi Andrews

 

Sahjan Kooner’s project is next to be showcased. What can audiences expect from the online event on 29 May?

Sahjan Kooner is interested in migration and technology. They are a fantastic artist to finalise the project with, as though the work has focused on local oral testimonies from migrant communities, it reminds us of the wider heterotopias and asks us to consider mass migration, restrictions of space and access through digital platforms. These have massive implications globally, but also very personally and both must be considered if we wish to really integrate all people and their needs into our cities.

Work Tiltle;

52° 35′ 28.9320” N, 2° 6′ 38.6928” W

30° 54′ 3.4740” N, 75° 51′ 26.1972” E

Sahjan is presenting a series of floor-based works which contain films developed over the course of the residency. The films are a culmination of an intensive research period which contained oral testimonies, forensic reconstructions of memories and physical/digital production. The filmic body of work explores how memories move across time and space and draws questions around prosthetic memory, architecture, politics of place, domestic life and marginalised voices.

You can view the documentation and interview of this work from 6pm Friday 29th May 2020 on Facebook, Instagram, and our website.

There is also a Zoom Q and A from the artist where we will live stream from the gallery.

https://us04web.zoom.us/j/7851748938
Meeting ID: 785 174 8938

 

How do you plan to share research and findings from the wider project? What’s its future?

Throughout the residencies, our writer in residence Nathaniel Grant has been responding to the works through extensive research around the subject areas and their impact locally. The documentation from the residencies, essays from Nathaniel, further contributions from 6 local artists and professional architect Curtis Martyn who specialises in urban design, will culminate in a publication that will be gifted to West Midlands institutions, cultural organisations, our council, libraries and archives. This will also be available to access online through our website. We currently sit as a key stakeholder on Wolverhampton’s cultural compact and will look to integrate some of the questions that have been raised and ideas for cultural regeneration into their strategy moving forward.

You can view the publication from 3rd July and if you’re organisation would like a hard copy please contact:

info@theasylumartgallery.com

We will also be showcasing 11 artists in a group show at Wolverhampton Art Gallery where the publication will be available and Curtis Martyn will be speaking on how cultural regeneration can shape urban planning. The programming of this show is now subject to the social distancing guidelines and dates will be released when safe to do so.

 

https://www.theasylumartgallery.com/discursive-spaces-residency 

We speak to Hannah Taylor about the [ Discursive spaces ] residency project which has been developing at Wolverhampton’s Asylum Art Gallery. We find out more about the motivations for the project, the artists’ research and the ways that the project’s content and format has been shaped by the circumstances of Covid-19.

https://www.desiblitz.com/content/creative-black-country-reveals-covid-19-challenges-on-arts

Desiblitz find out how the lockdown has impacted on Creative Black Country’s work.

Keith Piper: Keith Piper: Body Politics. Work from 1982 – 2007, Wolverhampton Art Gallery, installation view, 2019. Photograph: Elona Photography.

Roma Piotrowska (right) with artist Phoebe Cummings during installation of her exhibition, Wolverhampton Art Gallery, 2020.

We speak to Roma Piotrowska, Curatorial Officer for Arts and Culture at the City of Wolverhampton Council about her role, Wolverhampton Art Gallery’s collection and British Art Show 9.

 

Can you give us a little summary of what your job entails?

I am the Curatorial Officer for Arts and Culture at the City of Wolverhampton Council. My job involves coordinating and shaping the programme of exhibitions and events across Wolverhampton’s cultural sites, including Wolverhampton Art Gallery (where I am based), Wolverhampton City Archives, Bantock House and Bilston Gallery. I spend most of my time working on the Gallery’s exhibition programme.

 

What has it been like working with a collection?

Ikon Gallery (where I worked previously) does not have a collection, so I was keen to gain this kind of experience. I couldn’t have dreamt of a more exciting collection to work with than Wolverhampton Art Gallery’s. Our collection is vast, and part of our strategy is to link it closely to our contemporary programme, which excites me the most. Last year for example, we organised an exhibition of works by Keith Piper, which originated from the fact that we have two of his works in our collection.

In the 1960s the gallery started to amass a significant collection of Pop Art, including work by Andy Warhol, Roy Lichtenstein and Richard Hamilton among others. We now have the largest collection of Pop Art outside of London. This remains a collecting priority. We also have a significant collection of work by Black British artists. Building on the social and political issues inherent in the Pop collection, the gallery chose to focus on art which responded to contemporary society, especially looking at the themes of gender, identity and conflict. All these themes have been important to me in relation to art since I started my first gallery job at Wyspa Institute of Art, Gdansk, Poland in 2005.

Image: Keith Piper, The Seven Rages of Man (1984), installation view, Keith Piper: Body Politics. Work from 1982-2007, Wolverhampton Art Gallery, 2019. Photograph: Elona Photography. Courtesy the artist and Museums Sheffield.

Do you have a favourite piece in the collection?

No, I don’t really. It is very difficult for an art professional to have a favourite work of art. There are pieces that I am proud we have in the collection because they are by artists whose practice I follow and admire, for example works by Yinka Shonibare, Richard Billingham, Keith Piper, Gillian Wearing, Larissa Sansour and Siobhan Hapaska.

Sometimes items that may seem to be less interesting, become fascinating in the right context. We have for example a collection of memorabilia connected to Royal Weddings, which normally wouldn’t be of my interest. We wanted to represent different stages of family life in relation to our Wolverhampton and Me exhibition, so we chose objects connected to Royal Weddings, such as stickers, commemorative beer bottles and ‘Charles & Diana’ brick. It was fascinating to learn more about those quirky objects and display them in a completely new context of an exhibition about family ties.

 

What are you working on at the moment? What are you looking forward to in the programme?

Before the Coronavirus outbreak we were working on our immediate programme but since the crisis started, the next few months are very much up in the air for us.

Very exciting and more in the future is British Art Show 9, which is planned to take place in Wolverhampton from February to May 2021. It is the most anticipated exhibition of cutting-edge contemporary art in Britain and it will be exhibited both at the Gallery and University of Wolverhampton. We are anticipating that the show will bring thousands of art-lovers to Wolverhampton from across the UK and beyond, putting our cultural offer firmly in the spotlight.

 

Find out more about Wolverhampton Arts and Culture here.

 

We speak to Roma Piotrowska, Curatorial Officer for Arts and Culture at the City of Wolverhampton Council about her role, Wolverhampton Art Gallery’s collection and British Art Show 9.

https://www.wolverhampton.gov.uk/news/city-earns-cultural-compact-champion-funding

City of Wolverhampton Council has secured funding from Arts Council England to put in place a Cultural Compact champion to support the further development of the city’s strong cultural offer.

Located in Chapel Ash in Wolverhampton, Asylum Art Gallery was founded in 2014. They are passionate about nurturing art within the community. They provide a space to showcase work, develop new ideas and engage artists in exploration. We speak to Director Hannah Taylor about the gallery and studios, as well as current opportunities.

You are currently offering West Midlands-based artists an exciting residency opportunity which will explore the spaces of Wolverhampton – the Discursive Spaces Residency Programme. Why should artists apply?

This is a paid opportunity for five West Midlands-based artists to engage with local spaces, Wolverhampton City Council and community to develop work that offers a poignant contribution to the commentary around how these structures facilitate growth or restriction. The publication we will produce as a result of the residency will remain a tangible artefact to continue these discussions and hopefully promote cross-city, cross-institutional and cross-sector collaborations. Redefining our perspective of ‘community’ and our common ownership and responsibility of space in this political climate is crucial to regenerating through culture.

 

You’ve just celebrated your first anniversary at your studios. How can artists get involved with/be a part of Asylum?

In terms of the ‘Asylum Art Gallery and Studios’, anyone is welcome to be apart of our collective. We run exhibitions at the gallery regularly and host open studio days, events, workshops and art crits that the public are welcome to attend. You can also join us and use our facilities such as the library, computers, hot-desking facilities, photo studio – work in a creative space that promotes collaboration and supportive discussion.

Everyone is welcome to contact us and see how we can support their ideas through mentoring, portfolio development or connecting with relevant collaborators. We want to be an open space where all creatives feel confident to express and develop. You can contact us through the website and find relevant forms for submitting exhibition proposals.

You can arrange an appointment with us or join our mailing list through: info@theasylumartgallery.com

 

What do you have planned for the future?

Our plan is to develop an educational program that supports the development of high quality contemporary art practice but within a vocational setting, and with a special awareness of facilitating hidden disabilities such as chronic health and mental health issues. Asylum Art Gallery was initially set up by Corin Salter after being diagnosed with Aspergers Syndrome as a safe space or a place of refuge for anyone to express and create. We believe that there is a gap that needs bridging between education and professional practice, and unfortunately there is still an institutional bias in relation to disclosure and exclusion.

 

The Discursive Spaces Residency Programme offers a paid residency for five West Midlands based artists at any stage of their artistic development to produce a solo show in response to community engagement and research of ‘Heterotopias’. Each successful artist will undertake a one month residency at Asylum Art Gallery & Studios, where their research will inform a solo exhibition. The process, research and outcomes will also be presented as an academic publication – in collaboration with a writer in residence – that encapsulates all five artist’s journeys.

The residency encourages artists who may not have been born in the area, such as international students, asylum seekers, refugees or migrants and BAME communities, to engage in critical discussions about non spaces and transient spaces such as public space, and how it is used or unused in the City of Wolverhampton. 

Deadline: Friday 1 November 2019.

 

We speak to Director Hannah Taylor about the gallery and studios, as well the Discursive Spaces Residency Programme, a paid residency for five West Midlands based artists exploring the spaces of Wolverhampton.

http://www.wolverhampton.gov.uk/article/13173/Wolverhampton-selected-to-host-prestigious-art-show

Wolverhampton has been selected as one of four cities to be part of the biggest touring exhibition of contemporary art in the UK. British Art Show 9 will exhibit at Wolverhampton Art Gallery and University of Wolverhampton School of Art between February and May 2021.

URGENT: #SaveLightHouse Appeal is launched

Wolverhampton’s Light House Cinema & Cafe Bar is currently under threat of closure. The Black Country’s only independent cinema and community venue, the space supports local artists and has also launched many careers in the arts.