Pipe Factory's social space and artistic community

(Social) space is a (social) product [...] the space thus produced also serves as a tool of thought and of action [...] in addition to being a means of production it is also a means of control, and hence of domination, of power. Henri Lefebvre

Directors: You can find us here:
Beth Dynowski, Ashanti Harris, Verity Hocking Side door/ Floor 2/3/4
42 Bain Street
Web: www.thepipefactory.co.uk Glasgow
E-mail: info@thepipefactory.co.uk G40 2LA
Copy of original presentation delivered in Calton community centre to steering group Summer 2013)

v
v

RESIDENT ARTISTS
Our residents are at the heart of what we do. We are a space for art and are dedicated to the production and distribution of artists work and ideas. We provide affordable spaces for artists to work and opportunities for artists and the general public to experiment and exhibit in a supportive community environment.
There are currently fourteen Pipe Factory Studio Residents working in the building who form a core community of artists. They are given the space to pursue their own practice, collaborate and contribute towards the running of the space.
Susannah Stark ‘Coleur Café’
Above: Lorraine Hamilton ‘Field’
Below: John Kellock AGM Manifestos, Steven Grainger

GLASGOW INTERNATIONAL 2012
Last year we were the only new independent artists run space to be selected for GI 2012. We delivered a highly ambitious and eclectic series of events, exhibitions and workshops over the entire two weeks of the festival. From cinema nights in our loft, collaborations between musicians and filmmakers, cookery nights, dance workshops, to public discussions on education in Glasgow, over 700 people visited us in Calton, 30 artists participated in our programme and we worked with 15 volunteers.

UPCOMING PROGRAMME
This month we are hosting our first Graduate Residents, Hugh Pottinger & Patrick Queen. They will hold an open studio day to share their work and a sound workshop with dinner included!
Next month artist and educator Craig Barroman will have his first solo show in Glasgow and hold an event looking at the life of inventor Buckminster Fuller. We will also be open all weekend for Doors Open Day where our architects competition will be on display.
In October, artist Sogol Mabadi will be in residence after returning from her voyage across the sea on The Clipperton Project and jewellery designers Saltmarket will hold a weekend of printmaking workshops & pop up shops.
Before we go home and turn on the heating, in November we will hold a film and performance scratch night for anyone to come along and test out their ideas or try for the very first time. Unit 7 will round off the year with a show of artists who took part in their marathon year long project residency project throughout 2013.

We would like to deliver a sustained programme of regular classes, workshops, exhibitions, events and launch a skill share programme with artists, architects and designers for young people and adults in Glasgow to pursue their creative career ambitions.
To do this the building needs major renovation. We have initiated an ambitious restoration programme which will ensure the building success well into the future.
We are currently working in close partnership with our landlord and are in consultation with Glasgow City Council, Glasgow Buildings Preservation Trust, Historic Scotland, City Heritage Trust, and various advisory bodies to make sure we can provide an affordable, sustainable, viable future for The Pipe Factory in Calton.

Directors: Beth Dynowski, Ashanti Harris & Verity Hocking
Web: www.thepipefactory.co.uk
E-mail: info@thepipefactory.co.uk
Address: Side door / Floor 2/3/4
42 Bain Street
Glasgow
G40 2LA
The Pipe Factory is a non-profit limited company registered in Scotland. Company Number: 453445.

Things that helped.
THIRD PARTY ADVISORS, ADVICE FROM STAFF IN OTHER ORGANISATIONS, FAMILY AND FRIENDS TO MOAN TO, PARTNERS AND FRIENDS TO PITCH IN, ASKING FOR HELP, FUNDERS AND KNOWING WHEN YOU NEED IT, GIVING TIME TO LOCAL COMMUNITY ORGANISATION AND GETTING TO KNOW PEOPLE, STAYING CALM, BEING HONEST, GIVING UP, STICKING WITH IT, LETTING ONE ANOTHER HAVE TIME OFF, BEING FRIENDS, INTRODUCING GOVERNANCE STRUCTURES AND KNOWING WHEN NOT TO, HAVING ROLLING CHAIRS AND MINUTE TAKERS, KEEPING GOOD FILING SYSTEM, BEING ORGANISED, ACTIVELY MEETING AS MANY PEOPLE AS YOU CAN AND TAKING UP OFFER WHEN IT ARISES, RESPONDING TO EMAILS IN TIME, BEING ABLE TO WRITE FUNDING APPLICATIONS, HAVING A UNIQUE SPACE, USING OTHERS BUSINESS PLAN TEMPLATES, USING OTHERS TEMPLATES FOR POLICIES & CONTRACTS, GETTING A WEBSITE, KNOWING WHEN TO SPEED UP AND WHEN TO SLOW DOWN, KNOWING HOW BIG YOU DON’T WANT TO GET, EATING TOGETHER, GETTING SLEEP, GETTING CONSENSUS RATHER THAN MAKING DECISIONS FOR PEOPLE, HOLDING OPEN DAYS & TAKING PART IN CITY EVENTS, GETTING OTHER KINDS OF PROFESSIONALS INVOLVED TO MAKE UP FOR SKILL AND KNOWLEDGE GAPS, FORGIVING ONE ANOTHER, GETTING VOLUNTEERS IN AND GETTING TO KNOW THEM, RELEASING CONTROL, BEING ACCOUNTABLE, BEING NATURALLY DRIVEN TO DO IT FOR A REASON OTHER THAN YOUR OWN CAREER, LISTENING TO STUDIO HOLDERS AND HAVING REGULAR MEETINGS, BEING ABLE TO BUILD BY YOURSELF AND WILLING TO UNBLOCK TOILETS, GET FINANCE RATES INSURANCE TAX SORTED ASAP, HAVING PLANS FOR WORST CASE SCENARIOS, GETTING HEALTH AND SAFETY ASSESMENTS, HAVING SPACE TO SOCIALISE, PUTTING EVENTS ON AND BEING OPEN TO PUBLIC, GIVING OTHERS OPPORTUNITIES, KEEPING QUESTIONING AND TALKING IT THROUGH, HAVING REGULAR COMMITTEE MEETINGS AND A GOOD CHAIR, PITCHING IN AT ALL LEVELS.

Things that didn’t help.
NO THIRD PARTY ADVISORS, ADVICE FROM STAFF IN OTHER ORGANISATIONS, FAMILY AND FRIENDS TO MOAN TO, PARTNERS AND FRIENDS TO PITCH IN, ASKING FOR HELP, FUNDERS AND KNOWING WHEN YOU NEED IT, GIVING TIME TO LOCAL COMMUNITY ORGANISATION AND GETTING TO KNOW PEOPLE, STAYING CALM, BEING HONEST, GIVING UP, STICKING WITH IT, LETTING ONE ANOTHER HAVE TIME OFF, BEING FRIENDS, INTRODUCING GOVERNANCE STRUCTURES AND KNOWING WHEN NOT TO, HAVING ROLLING CHAIRS AND MINUTE TAKERS, KEEPING GOOD FILING SYSTEM, BEING ORGANISED, ACTIVELY MEETING AS MANY PEOPLE AS YOU CAN AND TAKING UP OFFER WHEN IT ARISES, RESPONDING TO EMAILS IN TIME, BEING ABLE TO WRITE FUNDING APPLICATIONS, HAVING A UNIQUE SPACE, USING OTHERS BUSINESS PLAN TEMPLATES, USING OTHERS TEMPLATES FOR POLICIES & CONTRACTS, GETTING A WEBSITE, KNOWING WHEN TO SPEED UP AND WHEN TO SLOW DOWN, KNOWING HOW BIG YOU DON’T WANT TO GET, EATING TOGETHER, GETTING SLEEP, GETTING CONSENSUS RATHER THAN MAKING DECISIONS FOR PEOPLE, HOLDING OPEN DAYS & TAKING PART IN CITY EVENTS, GETTING OTHER KINDS OF PROFESSIONALS INVOLVED TO MAKE UP FOR SKILL AND KNOWLEDGE GAPS, FORGIVING ONE ANOTHER, GETTING VOLUNTEERS IN AND GETTING TO KNOW THEM, RELEASING CONTROL, BEING ACCOUNTABLE, BEING NATURALLY DRIVEN TO DO IT FOR A REASON OTHER THAN YOUR OWN CAREER, LISTENING TO STUDIO HOLDERS AND HAVING REGULAR MEETINGS, BEING ABLE TO BUILD BY YOURSELF AND WILLING TO UNBLOCK TOILETS, GET FINANCE RATES INSURANCE TAX SORTED ASAP, HAVING PLANS FOR WORST CASE SCENARIOS, GETTING HEALTH AND SAFETY ASSESMENTS, HAVING SPACE TO SOCIALISE, PUTTING EVENTS ON AND BEING OPEN TO PUBLIC, GIVING OTHERS OPPORTUNITIES, KEEPING QUESTIONING AND TALKING IT THROUGH, HAVING REGULAR COMMITTEE MEETINGS AND A GOOD CHAIR, PITCHING IN AT ALL LEVELS.

COMMITMENTTEMPORARY
INSTRUMENTALISATIONCRITICALVOICE
PRODUCTIVITYFATIGUE
STULIFICATIONEMANCIPATION
UnPRODUCTIVE TENSIONS
( AM I WORKING? )

Building up/out/in (steps we took)
•Cultural enterprise office / business gateway (follow online guides and get appointments for advice sessions, Chris Biddlecombe an adviser there helped with studio aspect of space, also involved with National Federation of Studio Providers and Wasps.)
•Getting the right building. Working with landlord with third party support if necessary to come to an agreement, even if informal having it written and signed. Seek legal advice on lease negotiations, (free over phone from CEO and also ask about any university law students drop in sessions. Does anyone know a lawyer?)
•Writing constitution/mission statement. View others & examples. What is mission, what are we for? Seek third party advice on content if necessary. Decided on membership and how to be accountable to them/process for becoming a member. (e.g. have AGM, have terms of 2-5 years for Board members to go up for election but staggered so everyone not leaving at once.)
•Deciding on best structure and putting in applications right away. (e.g. Community Interest Company? SCIO if you are for a charitable purpose (definitions here: www.oscr.org.uk/about-scottish-charities/glossary-of-terms/) this is a new way to become charity - neater than old way of going to Companies House and OSCR Pipe still only exists as a non- profit company at Companies House, Companies House app takes 30 mins, charity application takes approx 3 months.)*
•Setting plan for meetings with agenda’s and clear minutes. Egalitarian structure of rotating chair and minute taker.
•Deciding how everyone will work together, do people have roles/specifc tasks to oversee? Change how you work together if its not working and everyone’s not happy after trying.
•Get email account with filing system (example gmail and gdrive), website, social media.
•Set up a bank account (at least 2 signatories needed), H&S standard put in place (correct number of fire extinguishers, alarms, emergency torches , mandatory workplace sign if you are contracting labourers, and exit signs etc. Go to a local company for free consultation and your insurers will tell you what you need as minimum extinguishers within policy), public liability (bespoke cover @ Hencilla Hanworth through Artists Newsletter), register with HMRC for taxes, register for small business or non-profit rates relief, at Rate Relief department in local council, keeping records of company files and minutes digitally.
•Building relationship with/seeking advice from local council across several departments.
* Our first charity app had difficulties on just having studios and that being for a special interest group with no process for brining in new studio holders. We had to make the case for the need for this alongside our clear charitable purposes for advancement of the arts in our public programme. The charity app eventually failed because we were driving the capital development of the building but did not have a 25 year lease with landlord (so it couldnt be protected from private profit, and were advised to include advancement of heritage in application and get lease and re-apply which would show rationale for doing such a capital development drive.

• Building relationship with other art and business organisations and professionals and seeking advice. (from using others photocopiers and mail outs to meeting with directors and curators and artists who have done similar thing and hearing their advice/reflections.)
• Getting an external board to make up for where expertise is lacking.
• Business plan and evidenced need. Write financial projections and plans for at least 5 years in advance.
• Finding a way for core staff to be paid. (Do you have voluntary board and then people who run space can be paid, put in their wages to Creative Scotland or any other funding application/ they can take profit from studio rental to have a cleaner/building manager?)
• Writing funding applications and/or finding out how. Met with Creative Scotland for advice through surgery sessions and getting other contacts to set up meetings. Creating funding list of what was available to us and putting in calendar and allocating people in charge of overseeing it/writing it.
• Wrote contracts out for studio holders with terms of agreement, and contracts for freelance artists employed to deliver classes.
• Setting up regular studio holders meetings for discussion, meals, feedback on committee and all related issues.
• Get certificates for any labour work done, i.e. electrics.
• Created a Pipe User Manual as a handbook for everything for committee and studio holders and public, inc. Equal Opportunities Policy, Working with Children and Vulnerable Adults Policy, Studio Agreement, Programming Process, Governance Docs, Insurance Docs, Points of Contact, H&S for all to read and sign & displayed everywhere, Finance Process etc. Working document that whenever things were decided on an issue, was updated.
• Asking for help, call out for volunteers.
• Creating a governance structure and foundation that can be passed onto others even if we all left.
• Talking through limits but being ambitious.
• Having a process for getting new board and organising/committee members, staff, for when people leave.
• Creating a Masterplan document for large projects (e.g. At www.nva.org.uk/current-projects/kilmahew+st+peters-41/)
• Running an architectural competition for the design and layout and contracting
• Being out in public doing events anyway, making parts of the process public and inviting people into different stages of project, making people excited about it. (e.g. Glasgow Open Doors Day, city wide festivals like GI)
• Being part of the area we were working in, buying from local shops and hardware stores, studio holders and committee helping out at local community centre and at events run by area association etc)
• Contacting local councillors to introduce what we were doing.
• Being part of local steering group of traders, activists, councillors etc.

{ What are the necessary conditions for work? }
.the political economy of maintaining and taking space for living.
.infrastructures and the movement of thought.

art school / world
beyond cultures of
conformity ultra-individualism
competition personal promotion

culture of
conformity ultra-individualism
competition personal promotion
The school is in fact the institution which, by its positively irreproachable verdicts, transforms socially conditioned inequalities in matters of culture into inequalities of success, interpreted as inequalities of talent, which are also inequalities of merit.’
Pierre Bourdieu The Love of Art

Art, Self-Organisation & Public Resource Creation WCMT Report 2014

Immaterial futures? Building as dis/empowering Dolls House Syndrome letting ego

www.apexart.org franchise programme

maybe a house is all that’s needed.

This Red Door
www.thisreddoor.com

www.franklinfurnace.org
archive as space.

Ersta Konsthall was established in 2006, in a little nook. I declared myself director of the 3,75 square meters and started to produce exhibitions with Swedish and international artists. The small gallery grew with time, not size- wise, but in intensity. In 2007 I started to collaborate with two curators, Sofia Curman and Paola Zamora. Together, we initiated a sound archive. We decided to let anyone participate and received around 200 contributions. The sound archive has since then toured around to different institutions in Sweden and abroad. In each new place, the archive has been activated and expanded. Ersta Konsthall has moved out of the little nook and materialized itself in different contexts. I work alone with the project again, mainly exploring different exhibition formats and distribution forms.” – Linus Elmes
Ersta Konsthall

www.skulpturenpark.org
Artist: Dan Seiple

private/public space (land developed during day, used when diggers went home)
Artist pictured: Gabriella Hirst

Institutions, like women, must give out a feeling of trust and beauty. In order to do that they must go through the next steps before anything else .
1) Clean itself.
2) Drop oil that smells good in all corners.
3) Grow trees, bushes and grass around the building.
4) Paint the building in the colour of early morning.
5) Make sure the furniture is comfortable.
6) Be ready with the good water and simple food you can always give to the hungry.
7) Have note books and pencils for people to write down their inspirations. Whatever you want to communicate will be easily done in such an environment. Yoko Ono May 8th 2012

Localism is always one step behind history. What intrigues me is what synchronizes with the history. But in the meantime we need to treat our root as a starting point, to stick to one land and to have one experience.
Italo Calvino
An art centre using abandoned government space. An art centre run as an alternative to government policy.
3 proposals for an Art Center Taipei Jun Jang
Reading around:
Institutions for the Future Ed. Biljana Ciric and Sally Lai
Circular Facts Various Authors
Size Matters: Notes towards a Better Understanding of the Value, Operation
and Potential of Small Visual Arts Organisations Sarah Thelwall (London: Common Practice 2011) Full PDF available here: http://turningpointnetwork.squarespace.com/storage/project-files/summit- 2012/debate-1/Common-Practice-London_Size-Matters.pdf
Critical steps toward capital health in the cultural sector Rebecca Thomas & Sally Gifford http://nonprofitfinancefund.org/files/captips_052114.pdf?utm_source=Arts%2FLFF+Final+Pub&utm_campaign=6-5-14Arts-LFF-Final+Pub&utm_medium=email
Cultural Value and the Crisis of Legitimacy: Why culture needs a democratic mandate John Holden (London: Demos 2006)
Institutional Attitudes: Instituting Art in a Flat World Pascal Gielen (Amsterdam: Valiz 2013)
The Artist’s House: From Workplace to Artwork Kirsty Bell

The art of yesterday and today is not only marked by the studio as an essential, often unique, place of production; it proceeds from it. All my work proceeds from its extinction.
The Function of the Studio Daniel Buren

Contact: info@bethdynowski.com
Creative Spaces 17 Belmont Street 03.11.14

Pipe Factory's social space and artistic community

Empfohlen

Empfohlen

Weitere ähnliche Inhalte

Ähnlich wie Pipe Factory's social space and artistic community

Ähnlich wie Pipe Factory's social space and artistic community (20)

Kürzlich hochgeladen

Kürzlich hochgeladen (20)

Pipe Factory's social space and artistic community