1 User's Manual Eastside Projects
Contents
1. have been regularly overprinted distributed since simultaneously announcing and documenting the changing conditions in the exhibition 1 TurntoPUBLICISING other guiding Costs 520 Age Buyer other 8 2 47 eo o o D 5 gt 2 o 9 PARTNERING We have partnered with the following organisations to present exhibitions Book Works London 2009 2010 Cornerhouse Manchester Grizedale Arts Cumbria 7797 Leeds Met Gallery Leeds mima Middlesbrough Museum de Paviljoens Amsterdam Wysing Arts Centre Cambridge 1 Turn to BORROWING other 16 N 4 PLACEMAKING In October 2010 Eastside Projects acquired an eighth column new freestanding pillar joining the 2 row of seven supporting the roof of the building po along its central axis The existing columns are 175 028 five metre high cast concrete and steel supports bg Buer a D Z PARTNERING To make exhibitions Extra Special People has partnered with Tactile Bosch Cardiff Rogue Project Space Manchester The Royal Standard Liverpool Rhys and Hannah Present Bristol Curfew Tower NI Hanson Street Studios Glasgow POLICY MAKING We must look out for sites of policy void in order to fill them 1 Turn to INVESTING PRECEDING Between the late 1990s and 2007 various artist led 28 projects and groups existed in Birming2. As Long As It Lasts 21 February to 4 April 2009 1 Third show in programme too soon for directors to be exhibiting their own work 1 Undeclared high pollen count forces volunteer to leave 5 early Debilitates him for a day after allergic reaction 1 A necessary music unnecessarily quiet Where s 1 I m still waiting for publication colophon 1 The billboard fell down 4 1 Joanne Tatham amp Tom O Sullivan Does Your Contemplation of the Situation Fuck with the Flow of Circulation 4 July to 6 September 2009 Difficult major summer show 1 A white tunnel is about as delicate as a white suit 1 Gallery director should turn his phone off during public conversation with artists Sunday openings aren t working just because you can doesn t mean you should all time low attendance figures 1 Attention artist led spaces You don t exist if you don t have a landline 1 Clarification needed as to volunteers payment and complimentary ESP membership 1 The billboard fell down 4 7 hobbypopMUSEUM 8 May to 13 June 2010 1 Newspaper now feels like a daily as opposed to a big thick Sunday 1 The most interesting element of the exhibition was the install something completely closed to the public 1 Most hands off curating to date 1 The billboard fell down 1 1 Carey Young Memento 6 Park 27 November 2010 to 29 January 2011 Delayed installation becomes performance during private
3. 1 Do you think we know your answers 1 Are you Eastside till you die 1 Is your board permanent Can it be changed and or added to 1 What is your curatorial policy on Eastside Projects gallery directors showing their own works 1 What is your position on unpaid labour 1 How do you choose the artists you exhibit Do you feel the William Pope L show is a success Who is the audience 1 Given the elitist tendencies of the art world how does Eastside Projects engage with the people of Birmingham and align with social struggles in these recessionary times 1 Is Eastside Projects aware of the critical literature that is developing around regeneration and what is its strategy in relation to the proposed Cultural Quarter 1 Turn to COMPLAINING model for an art space a display device designed specifically to support different directions in a programme We might think not of El Lissitzky s aesthetics but of his approach to spatial design as a form of curating the building and graphics supporting and producing the curatorial process CONIAAAAAA BS l SL OlJ 0 61 966L 2 198nsqy ozissr 3 1 2 Peter Nadin Gallery 1978 1979 New York by Peter Nadin Christopher d Arcangelo and Nick Lawson A continuous exhibition titled The work shown in this space is a response to the existing conditions and or work previously shown within the space Artists included Daniel Buren Peter Fend Dan Graham
4. Louise Lawler Sean Scully and Lawrence Weiner The artists directly responded to each others work developing a cumulative environment Two of the artists Fend and Weiner contributed semi permanent works to the first exhibition at Eastside Projects 1 Nadin et al s 19 8 project began with this announcement We have joined together to execute functional constructions and to alter or refurbish existing structures as a means of surviving in a capitalist economy his text forms the starting point for Eastside Projects gallery policy and strategy Just as Nadin et al s exhibition started with the empty gallery space This is the Gallery and the Gallery is Many Things September to November 2008 the first exhibition at Eastside Projects followed suit in an unravelling of function design and execution by the gallery and the artists Ed 1 TE 33 au 9 REPRESENTING x See FIG 28 below 1 Turn to 1 HOSTING E S male 64 5 S 1 9 This is the Show and the Show is Many Things 1994 Museum van Hedendaagse Kunst AS Te upo X Ghent curated by Bart de Baere The exhibition included Honor d O Fabrice Hybert Louise FIG 28 Chart showing basic demographic of artists exhibiting at Eastside Projects 2008 2011 Bourgeois Suchan Kinoshita Jason Rhoades and REVERSE ENGINEERING In March 2012 the Mobile Wall System see BORROWING will be returned to Vienna Secession A n
5. Sculpture Show Simon amp Tom Bloor As long as it lasts 21 February to 4 April 2009 Artists Films 21 February to 4 April 2009 Johanna Billing Beatrice Gibson amp Alex Waterman Sculpture Show 2 May to 13 June 2009 Athanasios Argianas Art amp Language Bochner Susan Collis Michael Dean Tatiana Echeverri Fernandez Lothar Hempel Torsten Lauschmann Marko Lulic David Medalla Scott Myles Elizabeth Price Tommy St ckel Sue Tompkins Franz West Joanne Tatham amp Tom O Sullivan Does your contemplation of the situation fuck with the flow of circulation 4 July to 6 September 2009 Abstract Cabinet Show 26 September to 8 November 2009 Laureana Toledo amp John Taylor Mithu Sen Support Structure Para Site Art Space Heather amp Ivan Morison Magnus Quaife amp David Osbaldeston Shedhalle Zurich Michael Takeo Magruder Bedwyr Williams Grizedale Arts Hut Project Malgras amp Naudet Contemporary Stan s Cafe Freee Daniel Salomon Juneau Projects Stone Canyon Nocturne DJ Simpson Clarke amp McDevitt Second Gallery Programme 25 September to 6 November 2010 Companis Freee Christian Jendreiko Gene Ceorge Earle Joanne Masding Ultra High Temperature Doug Fishbone Elizabeth McAlpine Liam Gillick Two Short Pl
6. dependence it is unpredictable precarious fragile It is driven by individuals through the desire to multiply their potential to overcome scarcity or inequality in a way that they cannot alone f Turn to COOPERATING COLLECTING The gallery is a collection The gallery is an artwork 1 Turn to RETAINING COMMISSIONING Martino Gamper was commissioned to make an addition to the gallery as a contribution to the exhibition Book Show July to September 2010 During the exhibition Gamper s four panel concertina structure in red grey yellow and white laser cut powder coated steel was used to display Katerina Seda and Radim Pe amp ko s project Der Geist Von Uhyst a book in four editions each bound on a different edge f During February 2011 the structure was used to present Book Works publications during the exhibition Again A Time Machine It remains in daily use for storing and displaying books 1 Turn to PROVOKING FIG 4 se COMMISSIONING Martino Gamper Untitled 2010 Hinged book display system laser cut powder coated steel COMPLAINING On Friday 28 October 2011 as part of Public Evaluation Event An Endless Supply a design practice founded by former Eastside Projects employees Harry Blackett and Robin Kirkham presented a series of anecdotal indictments of Eastside Projects 1 The following is an extract from their scripted performance 1 1 Simon amp Tom Bloor
7. organisations in Birmingham Since 2010 the gallery has participated in We Are Eastside a consortium leading independent arts in the city The following text constitutes the We Are Eastside manifesto and is set in the typeface developed for the project in 2010 by James Langdon and designed by Radim Pesko 1 TurntoRESPONDING WORK REPRESENT SHARE DELIVER PS LER CRITICISING BELIEVE GENERA PURGE DEMAND Crit Club is a series of intensive critical practice discussions facilitated by ESP staff and guest practitioners Crit Club focuses on addressing text is in image form is bad practice This point has been raised with three separate current members of staff an example of failing to learn from previous experiences Eastside Projects listens but it does not learn 1 Turn to ADJUSTINC CULTIVATING Eastside Projects is a cultural organisation which means we participate in the formation of culture We intend our primary activity to be cultivating to take care to tend to and to preserve The relationship between man and his ecology needs to be cultivated until the universe becomes fit for human habitation 1 Turn to PRECEDINC DISTRIBUTING See FIG 24 p 12 One of three broad terms used during Public Evaluation Event to classify the labour required to maintain Eastside Projects see also PRODUCING and OPERATING 1 A proposition distribution is how messages go out into the w
8. 36 by Walter Warton Drawing on page 42 by Tom Bloor Installation photographs by Stuart Whipps Specta typefaces by Radim Pesko Eastside Projects 86 Heath Mill Lane Birmingham B9 4AR UK Tel 0121 771 1778 www eastsideprojects org www twitter com eprjcts www facebook com eastsideprojects X 220 Supported b sinon id Paul Hamlyn ENGLAND Foundation ACCUMULATING ADAPTING ACCUMULATING ADDING ADJUSTING ADVERTISING ANSWERING ARTIST CURATING BELONGING BORROWING BUDGETING CIRCULATING COLLABORATING COLLECTING COMMISSIONING COMMUNICATING COMPLICATING CONFOUNDING CONTINUING CONTRIBUTING COOPERATING CRITICISING CURATING COMPLAINING DECODING CULTIVATING DEMANDING DESCRIBING DESIGNING DISTRIBUTING DISPLAYING DOG WHISTLING DOCUMENTING ECONOMISING ENGAGING ESCAPING EVALUATING EXHIBITING E amp rrive FACILITATING FOUNDING FUNDING HOSTING HAIRDRESSING ILLUMINATING INSPIRING INVESTING INTEGRATING INTERPRETING INTRODUCING LAYERING LINING LOCALISING MODIFYING NARRATING NEIGHBOURING NOT FOR PROFITEERING OCCUPYING OPENING OPERATING ORGANISING OVERPRINTING PARTNERING PLACEMAKING PLANTING PARTNERING POLICY MAKING PRINTING PROVOKING PRIVATISING PUBLICISING ppopycine PUBLISHING QUESTIONING REFERRING REFLECTING RESPONDING REPRESENTING RETAINING PEyERSE SEEKING ENGINEERING SELLING SEQUENCING SLOGANEERING SPECIFYING ipae STAFFING SUPPORTING SUPPORTING TIMING T
9. Brown s Enterprise Jonathan Viner Sprueth Magers White Cube MOT Gallery Carlson Gallery Vilma Gold The Modern Institute Kunstverein Schwerte Michael Bauer Christian Freudenberger Markus Karstieb Seb Koberstadt Andrew Palmer Peyman Rahimi Detlef Weinrich Basith Uddin Man Chi Pun Aaron Sloman Shout Duncan Marquiss Vitamin Creative Space Yangjiang Group Paul Harrison Gavin Delahunty Beth Bramich Pendragon Packaging 25 OPERATING See FIG 26 p 27 One of three broad terms used during Public Evaluation Event to classify the labour required to maintain Eastside Projects see also PRODUCING and DISTRIBUTING 4 A proposition operation is the organisation of manpower place and resources Operation is conditions and policies 1 Following Public Evaluation Event we revised the job description for one of our staff members to become Gallery Assistant Operation In this context 26 by operating we mean 1 Building costs rent insurance health and safety maintenance 1 Organisational costs board and director meetings accountancy equipment administration materials and general expenses 1 Personnel staff salaries temporary assistants travel and transport 1 Turn to STAFFING FIG 12 se ESCAPING Jennifer Tee Transcend and Escape 2010 Designed by Richard Niessen publications by Berlin based artists Declan Clarke and Paul McDevitt in a Daddy Hummer the largest limo
10. James Smith Tether Helga Henry Andy Bass Wendy Law Maria Fusco Hildegarde Darby Queen amp Crawford Matthew Higginbottom Matt Foster Joseph Welden Matthew Moore Olly Jones Avonstar Trading Jonathan Gordon Rupert Pane Sophie von Hellermann MODIFYING For example the Eastside Projects office is the artwork Pleasure Island by Heather and Ivan Morison Originally commissioned for the Wales Pavilion at the Venice Biennale in 2007 the structure has been modified to function as an office New features include a kitchen desks shelving and a laraer entrance Sm FIG 11 se MODIFYING Heather amp lvan Morison Pleasure Island 2008 Sculpture converted to office 1 The artists are presenting a series of puppet shows within Pleasure Island as part of the gallery programme 1 In July 2011 the artists created annex to Pleasure Island as a home for Mighty Titan a mynah bird who we are teaching to recite the phrase Du vergisst Dinge Du vergisst Dinge Du musst Turn to TRANSFORMING NARRATING Narrative is a fundamental part of Eastside Projects methodology and practice Making explicit the idea of narrative within an exhibition programme and why it is useful creates a context in which to assimilate and express ideas This performance is through material actions and language 1 Language cannot describe a spatial cumulative and phenomenological environment and all the artworks th
11. are structural mechanism of social order 1 We are here to change power relations 1 We must be multicultural I We must continue and champion the idea of thinking in public 1 We must be gardeners 1 We must know when to stop 1 We must tweet things that we believe in 1 We will go to Stockholm in three years time TYPE DESIGNING In 2010 Eastside Projects invited Radim Pesko to develop a new typeface for the gallery The result Specta is a typeface designed for adaptability and specificity Its first version comprised an initial collection of letter forms that are being modified and added to in response to the changing conditions of the gallery and the needs of its vocabulary Condensed bold and monospaced versions are now also in use The first Specta type specimen appears here and constitutes the entries DECODING and CONFOUNDING 1 Turn to PRINTING FIG 18 se DECODING FIG 19 se CONFOUNDINO UPCYCLING Upcycling means speaking in a polyphonous way 1 Choose upcycling to survive 1 Upcycling is an important form of protest 1 Avoid being a human resource 4 Upcycle now pay never 1 Take and copy and paste and change this manifesto 1 Upcycle this text 1 RELAX Cchiarenza amp hauser amp What is Wealth f Turn to HAIRDRESSING VISITING ESP organises regular visits to arts organisations in other UK cities providing opportunities for members to broaden their UK networks and take part in exchange pro
12. even want to paint over other areas we thought could be neatened 1 People seem to need to create a difference between what is considered artwork and what is not as if the gallery context itself was not work and could be ignored It is difficult to explain until people come to Eastside Projects the space just makes sense when you are present in it Perhaps this is because it is so far from a white cube and all the layers of the making of the space are apparent and overlaid making it too complex to read from a distance 1 C line Condorelli in Manifesta Journal 410 1 Turn to COLLECTING LINING The interior architecture of Eastside Projects occupies the building with a thin and fragile layer a lining This temporary ad hoc aesthetic reveals at any moment the layers of activity that have shaped the conditions of the space f Turn to ADAPTING LOCALISING In 2011 our street sign was designed fabricated in powder coated steel and screenprinted all within 300 yards of the gallery 1 Turn to NEIGHBOURING on evaluation of savings made and income generated for the state through investment in FJF employees at Eastside Projects 1 Headline calculation every 1 invested generates a return of 3 75 1 Net saving for the state is 2 75 for every 1 invested in Eastside Projects 1 Scenario II SROI for multiple stakeholders impacted by the employment of FJF practitioners at Eastside Projects 1 Headline calculation e
13. of the artist curator generating a constructed environment for artworks by Piet Mondrian Naum Gabo and Lissitzky himself It functioned as an artwork in itself intertwined with the selection and integration of other artists works 1 The Abstract Cabinet can be used as a QUESTIONING In preparation for Public Evaluation Event Eastside Projects invited questions from our audience for consideration during the event The following is a selection of questions received 1 Do exhibitions stand up against Twitter as a contemporary form f What is the role of small visual arts organisations within the wider arts ecology 1 How can intangible assets be acknowledged as a resource 1 How does one measure cultural value 1 Should contemporary art be funded by the government 1 How collaborative are you 31 How do you justify your hierarchical structure 1 Is your budget completely transparent and public 1 How much time do you spend branding your organisation as opposed to challenging it 1 How much time do you spend thinking about the exhibitions and supporting artists within the total amount of time spent working 1 Why do you stick to the term gallery knowing its elitist origin Is the idea of a new gallery not a contradiction in terms Have you ever failed 1 Do you take the notion of art for granted How do we collectively make the case that artists contribute socially culturally and economically
14. view 1 No support system for Future Jobs Fund employees who need it 1 Staff rotation needs to be staggered to avoid one step forward two steps back 1 Specta update late J I m still waiting for Carey Young s major monograph 4 The billboard fell down 4 J Narrative Show 14 May to 10 September 2011 1 Experience of gallery now predominantly through the website and Twitter being on the outside communication is a problem 1 Sending emails where COMMUNICATING We distribute printed matter to other venues and institutions locally and using postal services across the UK and internationally We use online platforms such as our website Twitter and Facebook 1 Anyone can join our free mailing list to receive messages from us by email or in print To subscribe email info eastsideprojects org 1 Turn to TWEETING COMPLICATING We exist to respond to the best and most challenging contemporary art and to put radical historical models and precedents to good use We believe that if the art of today is complex and demanding then the places that we conceive for producing and experiencing it should reflect this 1 Turn toeINTERPRETING CONFOUNDING See FIG 19 p 42 then turn to ENGAGING CONTINUING But walls don t stay as walls things happen to them things are put on them So why not let the thing evolve let it continue and see what happens 1 Peter Nadin interviewed by C line Condorelli 2009 1 Turn to MODIF
15. 1 DISTRIBUTING 1 OPERATING 1 PRODUCING 1 For more on this process begin at EVALUATING ACCUMULATING Eastside Projects accumulates a community of artists designers academics curators and thinkers The influence of these relationships is apparent in many aspects of the space programme working structures and thinking of the organisation ADJUSTING The new material overprinted in the margins of this fifth draft manual is arranged alphabetically Adjustments to existing entries appear either as supplementary entries in the margins or as marks obscuring or altering parts of the original document 1 Turn to USING ACCUMULATING At the end of each exhibition at Eastside Projects we build on recycle and upcycle its remains In this way each exhibition alters the space and the space writes and records its own history Each new addition responds to and alters the existing conditions The gallery accumulates the traces of its use as part of a learning process 1 During this process certain artworks have become long term fixtures of the space These include works by artists Susan Collis Peter Fend Martino Gamper se COMMISSIONING Matthew Harrison see WELCOMING Barbara Holub ISAN Heather and Ivan Morison se MODIFYING Scott Myles Jennifer Tee se PLACEMAKINO Lawrence Weiner see TIMING and Carey Young f Turn to CONTINUING ADAPTING See FIG 10 pp 22 23 then turn to ADDING ADDING The following objec
16. 7 In this draft the manual is structured as an alphabetical compendium of verbs Each of these interconnected entries describes an activity engaged in by Eastside Projects as an organisation or a process occurring in the Eastside Projects building Beneath each entry is a prompt to the reader to follow one of multiple narrative paths through the text 1 Readers unfamiliar with Eastside Projects should begin at DESCRIBING 1 Other suggested starting points JWELCOMING EXHIBITING 18NARRATING1COMPLICATING IINTEGRATING FIG 2 see WELCOMING Matthew Harrison Willkommen Bienvenue Welcome C mon In 2008 Eastside Projects front door handle The entries overprinted in pink and blue in this fifth draft manual for Eastside Projects were composed in response to the proceedings of Public Evaluation Event This three day symposium took place at Eastside Projects during 27 to 29 October 2011 1 Staged as a series of public presentations invited contributors evaluated three years of Eastside Projects from various critical points of view Draft four of this manual on which this present draft five is overprinted was used as a prompt and reference during the event 1 Corrections and additions for draft five 1 were formulated during Public Evaluation Event and the overprinted elements now operate as a layer of critical commentary on the statements in draft four New suggested starting points are
17. FIG 1 se ILLUMINATING User s Manual Eastside Projects DESCRIBING EXHIBITING NARRATING FOUNDING DISPLAYING CURATING NOT FOR PROFITEERING ACCUMULATING ARTIST CURATING BUDGETING CONTINUING COMMISSIONING FUNDING MODIFYING PROVOKING OCCUPYING TRANSFORMING INTRODUCING BELONGING LAYERING PRODUCING SEEKING STAFFING COLLECTING uc ii SLOGANEERING CONTRIBUTING RETAINING CULTIVATING INSPIRING ORGANISING DOCUMENTING PRECEDING CIRCULATING REFERRING COMPLICATING TIMING INTERPRETING ESCAPING EVALUATING DEMANDING UPCYCLING HAIRDRESSING INTEGRATING QUESTIONING DECODING WHISTLE BLOWING ANSWERING COMBLAMING CONFOUNDING SEQUENCING ENGAGING PARTNERING SPECIFYING SUPPORTING BORROWING LINING CRITICISING COLLABORATING ADAPTING FACILITATING COOPERATING ADDING VISITING RESPONDING DESIGNING QUESTIONING WELCOMING TYPE DESIGNING REFLECTING OPENING PRINTING ILLUMINATING PROGRAMMING OVERPRINTING PUBLISHING PUBLICISING PRIVATISING SELLING DISTRIBUTING PLACEMAKING POLICY MAKING ADVERTISING a aN gre LOCALISING COMMUNICATING TWEETING NEIGHBOURING fifth Organisations do not often provide user s manuals This is draft user s manual for Eastside Projects It explains what the organisation is made of how it was set up who it is for how it can be used and what it can offer As would be the case for operating a machine or learning a subject a manual may be necessary for the full use of Eastside Projects
18. Future Jobs Fund to employ unemployed practitioners within our own organisation and partner organisations 1 Scenario SROI for the state only based INTERPRETING Our mission is threefold 1 1 To not compromise the nature of the artworks we exhibit by offering unnecessary layers of interpretation f 2 To assist artists by providing a rich context within which they may express the full potential of their work and 1 3 To support the public to engage in both interpreting perception and perceiving interpretation f Turn to DEMANDING INTRODUCING See FIC 9 pp 20 21 1 A list of artists who made their first Birmingham presentation at Eastside Projects f Turn to SEEKING LAYERING The space also acts as a growing archive of its own production and evolution There was an interesting point for me during the installation of Tacita Dean s work Darmstadter Werkblock 2007 in Curtain Show March to April 2010 The artist s assistant could not understand why the wall was the way it was se TRANSFORMING 1 It was difficult to explain how while being the remainder of an artwork it was also part of the gallery and the existing conditions that we wanted Tacita s film to work within Once it was clear that there was a congruent relationship between the space and the subject matter in Tacita s own film of the relationship between Joseph Beuys s work and the space it existed within he was happy with it and didn t
19. ITLING TITLING TRANSFORMING TWEETING TWEETING TYPE DESIGNING VISITING USING WELCOMING WHISTLE BLOWING QUESTIONING
20. MINATING RESPONDING In April 2011 the We Are Eastside consortium issued the following statement in response to the announcement of the restructuring of funding for the arts through Arts Council England s National Portfolio 1 The cuts to the arts through Arts Council England and Birmingham City Council represent a shift in the arts ecology of the city We Are Eastside has a strong position through a shared vision of Birmingham as an international exemplar of ambitious collaboration across art forms combined expertise resources and ideas and sustainable independent arts activity Together we can inspire the next generation of young people in our city f Turn to QUESTIONING OO 2008 2009 39 RETAINING We have a developing policy to negotiate with artists commissioned to make major works for 3 Eastside Projects to retain a copy of any edition as a legacy gift to a future Birmingham Museum of Contemporary Art f Turnto DOCUMENTING 2009 2010 63 OJO 2010 2011 85 5 SEEKING Actors 1 Bass players called John 1 Collaborators 1 Extra Special People 1 Fish tank gravel 1 Offset printing press 1 Questions 1 Volunteers 1 Turn to SLOGANEERING SELLING We operate a small shop at the gallery and online selling our publications selected guest FIG 29 see ENGAGING Three charts showing growth of ESP membership 36 SPEAKING It is pointed out to us that we utilise persuasive ways of speaking We have d
21. YING FIG 5 1 se ADDING Support Structure Scaffold as Declaration of Altered Conditions 2008 Temporary external and internal facades scaffold tubing fixings boards timber hoardings paint various electrical fittings for outdoor lighting FIG 5 2 Support Structure Functional Configuration 2008 Gallery entrance front door lights mobile front desk sio NN gt 2 2 2 2 ZZ 22 N SON UENS EN LP X VA 9 FIG 5 3 see ADDING Support Structure Functional Construction Residency Studio 2008 Stud wall construction exterior dove grey and clear corrugated PVC sheets interior plasterboard double doors to common area FIG 5 4 Support Structure Functional Construction Recording Studio 2008 Offset double stud wall construction exterior cladding anthracite coloured MDF interior plasterboard Recording booth single soundproof door FIG 5 5 Support Structure Functional Construction VRU Office 2008 Stud wall construction exterior cladding Pyrok interior plasterboard Single door to kitchen access to recording studio CONTRIBUTING See FIG 6 p 11 A list of groups and individuals who have worked with Eastside Projects 1 Turn to ORGANISING COOPERATING see also PRECEDING Eastide Projects is part of a fragile ecology of arts
22. a mapping changes in the geography of Eastside FIG 23 Three charts showing Eastside Projects total expenditure during 2008 2011 operation 61 tsip e 2008 2009 129 442 9 operation 70 Onpojd 2 gt ACE 2009 2010 BCU 152 337 OTHER PHF TOTAL operation 56 S 2 9 ic 5 SU 2010 2011 310 493 BORROWING alsoREVERSE ENGINEERING A section of Mobile Wall System from Vienna Secession designed by Adolf Krischanitz in 1986 was on loan to Eastside Projects during Narrative Show and Painting Show May 2011 to February 2012 The Mobile Wall System was transported 855 miles from Vienna to Birmingham 1 The wall represents a carrier of narrative 1 In September 2011 two parts of the wall were relocated to the Architectural Association in London for Narrative Show Exposition Turn to COLLABORATING B U D G E T G see also FIG 23 left FIG 3 Eastside Projects Income 2008 2009 2009 2010 2010 2011 100 000 102 00 126 551 9 000 12 700 17 500 23 319 24 366 1 669 115 000 132 319 139 766 330 720 Arts Council England BCU Birmingham City University PHF Paul Hamlyn Foundation Breakthrough Fund 1 Turn to FUNDING CIRCULATING See FIG 20 p 44 then turn to TIMING COLLABORATING We believe in working collaboratively towards change Collaboration is based on mutual
23. an Moritz K ng Richard Venlet Kelly Large John Latham Fraser Muggeridge Rollo Press Katerina Seda Radim Pe ko Yann S randour Simon Starling Werkplaats Typografie Keith Wilson Abake Vito Acconci Tauba Auerbach Bedford Press Melissa Dubbin Aaron S Davidson Will Holder Jeremy Jansen OK RM Walter Warton Carey Young Jennifer Allen Paula Cooper Gallery mima Cornerhouse loanna Karavela Bull Ring Carpets A Appleby amp Son The New York Art Book Fair William Pope L Motto Distribution Chiara Mingharelli Naomi Thompson Barbara Steveni Graham Dunning Ruth Ewan Emma Cocker David Rowan Josephine Flynn S Mark Gubb Pil and Galia Kollectiv Sally O Reilly Brian Dillon Paul Hobson Zelina Garland Liz Hawley Mel Brimfield Paul Eachus Becky Shaw Mac Friction Arts Project Pigeon Companis Lauren Davies The Lombard Method Vinyl Art Space Marcus Coates Lizzie Neilson Rebecca Bibby Touseef Saleem Polly Fibre Jodii Marsh William Lambie Tegid Cartwright Beth Hogan Adam Smythe Alex Bailey Georgie Parks Julia Gouin Samuel Rodgers Nicola Lowery Anna Morris Maurizio Bortolotti Dan Graham Lisson Gallery Building Design Joe Hollyoak Nigel Edmondson Jonathan Monk Slavs amp Tatars Paul Wade The Happy Hypocrite An Endless Supply Dora Garcia Nathaniel Mellors Raimandus MalaSauskas John Russell Jemima Stehli Poster Club Cally Spooner Vienna Secession Andrew Bass Architectural Association Wayne Daly Za
24. at exist within these parameters At a certain point in narrating an element of fiction comes into play which might be closer to the real experience of the space and this becomes a feedback mechanism that allows us to question and interpret the life of the space 1 By now Eastside Projects is not just a physical building up joining together and combining of elements but also a narrative flowing through the space f The world is understood through myths All meaning comes to us as stories We can take control of these stories to create our own meaning and form new myths Fragments of stories and half remembered truths form constantly re written histories and articulate new and possible futures 1 Turn to CURATING NEIGHBOURING G easoboG wHisTLINO In November 2009 Eastside Projects staged the launch of Fuck Book a new collection of George Best Ashley Bickerton Simon Bill Joe Bradley Brendan Cass George Condo Cullinan Richards Mark Handforth Dietmar Lutz Hayley Tompkins Barry McGee David Musgrave Paul Newman Andr Niebur Rupert Norfolk Nicolas Party Laure Prouvost Rob Pruitt RH Quaytman Imran Qureshi Alessandro Raho Dan Rees Tamuna Sirbiladze John Russell Fabienne Aud oud Josh Smith Alexis Marguerite Teplin Paul Thek Richard Tuttle Markus Vater Richard Woods Zheng Guogu Kenny Schachter Collection Frank Cohen Collection Deutsche Bank Collection Rob Chilton Collection Montana Cans Corvi Mora Gavin
25. ays 27 November 2009 to 23 January 2010 Curtain Show 13 March to 17 April 2010 C line Condorelli Tacita Dean Douglas Gordon Barbara Holub Hannah James Grace Ndiritu Lilly Reich Erik Satie Ines Schaber Albrecht Schafer Joanne Tatham 8 Tom O Sullivan Does your contemplation ZW Liam Gillick Two Short Plays Curtain Show hobbypop MUSEUM Raving Gardens 8 May to 13 June 2010 Book Show 3 July to 4 September 2010 Nina Beier amp Marie Lund Ulises Carri n Daniel Eatock Martino Gamper Nina Katchadourian Moritz K ng amp Richard Venlet Kelly Large John Latham Fraser Muggeridge Rollo Press Katerina Seda amp Radim Pesko Yann S randour Simon Starling Werkplaats Typografie Keith Wilson Jennifer Tee Local Myths 25 September to 6 November 2010 Carey Young Memento Park 27 November 2010 to 29 January 2011 Dan Graham Models and Videos 26 February to 16 April 2011 Again A Time Machine A Book Works touring exhibition 26 February to 16 April 2011 Jonathan Monk Slavs and Tatars Dora Garcia The Happy Hypocrite hobbypopMUSEUM Raving Gardens Jennifer Tee Local Myths Carey Young Memento Park Dan Graham Models and Videos Poster Club 14 May to 9 July 2011 Laura Aldridge Anne Marie Copestake Kendall Kopp
26. e Tom O Sullivan Nicolas Party Ciara Phillips Michael Stumpf Narrative Show Narrative Show 14 July to 10 September 2011 Helen Brown Dora Garcia Raimundas Mala auskas Nathaniel Mellors William Pope L Jonathan Monk Child Heather 8 Ivan Morison Sally O Reilly TN wm EA Apexa Patel i eT 2 John Russell Henrik Schrat Cally Spooner Jemima Stehli amp Filho da Mae Stuart Whipps Freee Poster Club William Pope L William Pope L Child 17 September to 5 November 2011 Painting Show 26 November 2011 to 25 February 2012 Fabienne Aud oud amp John Russell George Best Ashley Bickerton Simon Bill Joe Bradley Brendan Cass George Condo Cullinan Richards Mark Handforth Dietmar Lutz Corridor Plateau II Barry McGee David Musgrave Paul Newman Andr Niebur Rupert Norfolk Nicolas Party William Pope L Laure Prouvost Rob Pruitt RH Quaytman Imran Qureshi Alessandro Raho Dan Rees DJ Simpson Tamuna Sirbiladze Josh Smith Alexis Marguerite Teplin Paul Thek Hayley Tompkins Richard Tuttle Markus Vater Richard Woods Zheng Guogu Corridor Plateau II Curated by Kunstverein Schwerte Michael Bauer Christian Freudenberger Markus Karstie Seb Koberstadt Andrew Palmer Peyman Rahimi Detle
27. en Shaoxiong Ben Kinmont Mithu Sen Mark Titchner Bill Drummond Spartacus Chetwynd Marte Eknaes Marc Bijl lain Forsyth Jane Pollard Magnus Quaife Rain Li Jimmy Fantastik Barbara Holub Book Works Walid Glaied Helen Grundy Nicki Lupton Lisa Dawn Metherill Joe Welden David Miller Apexa Patel Antonio Roberts Tim Stock Harry Blackett Rachel Clarke Gene George Earle Beth Fisher Rita Fletcher Sarah Farmer Harminder Singh Judge Terry Robinson Nami Patel Shezad Dawood Access Local Asia Alfasi Hans Christian Dany Stefan Heidenreich Karin Kihlberg Reuben Henry Plastique Fantastique Olav Westphalen Lee Stowers Helen Brown Kate Pennington Wilson Mark Essen Dave Rhodes Jo Masding Robin Kirkham Nick Balmforth Elle Cole Cliff Collins Richard Cresswell Ben Dawson Gale amp Co Beatrice Gibson Flatpack Festival The Elephant Trust Barcham Trees Wysing Arts Centre Leeds Met Gallery Suki Bansi Gill Whitting Ikon Gallery Lorne Stott Nav Haq Athanasios Argianas Art amp Language Mel Bochner Susan Collis Michael Dean Tatiana Echeverri Fernandez Lothar Hempel Torsten Lauschmann Marko Lulic David Medalla Scott Myles Elizabeth Price Tommy St ckel Sue Tompkins Franz West Joanne Tatham Tom O Sullivan Supersonic Festival Alberto Arsie Robin Aurora John Taylor Mithu Sen amp friends Grizedale Arts Para Site Art Space David Osbaldeston Shedhalle Zurich Michael Takeo Magruder Bedwyr Williams The Hut P
28. en turn to CONFOUNDING DEMANDING If previous gallery structures tend to lull you into passivity then Eastside Projects demands through both its programme and the nature of its space that you are active We invite you to project your own contemplation onto the objects and narratives presented in the gallery This process is a prompt for further work beyond the public space of the gallery into and onto the public sphere This should be the purpose of the gallery f Turn to DECODING DESCRIBING Eastside Projects is an exhibition space with many differences It is a free public space that is being imagined and organised by artists We commission and present experimental contemporary art exhibitions and propose ways in which art may be useful to society 1 Turn to FOUNDING FIG 6 List of groups and individuals who have worked with Eastside Projects Gavin Wade C line Condorelli James Langdon Herbert Bayer Adrienne Wade Simon Bloor Tom Bloor Ruth Claxton Liam Gillick Peter Fend Andrew Reilly Heather Morison Ivan Morison ISAN Don Hoo Elen Bonner Matt North Elizabeth Rowe Fay Khan Matthew Harrison Laureana Toledo Lawrence Weiner John Butler Gregory Sporton Mel Jordan Yasmeen Baig Clifford Stuart Whipps Kelscaff Robert Hepburn Scott Lara Ratnaraja Henrik Schrat David Burrows Simon O Sullivan a a s Zoo Art Fair Freee Genie Printing Chris Poolman Richard Woods Keith Wilson Joseph Hallam Kelly Large Ch
29. ere upcycled by artists Joanne Tatham and Tom O Sullivan to construct an artwork in the form of a painted tunnel for the exhibition Does your contemplation of the situation fuck with the flow of circulation July to September 2009 6 Zl Old UBAIIINS C WO pue 6000 jo YIM uonenjns noA 1 Abstract Cabinet Show September to November 2009 upcycled the tunnel in the following ways One side was re covered with wallpaper by DJ Simpson one wall was extended with a service point for a performance the back was converted into a commercial gallery art fair stand lighting was added to the inside of the tunnel for an exhibition of hanging instructions called This Way Up curated by Magnus Quaife and David Osbaldeston and finally Stan s Cafe undertook a five hour performance entitled The Commentators on the roof of the tunnel during a busy launch night FIG 21 The 100 most commonly used words in this manual listed by order of the frequency of their appearance the 392 to 275 and 239 of 217 174 in 145 is 121 turn 86 eastside 85 project 82 for 74 show 61 we 61 gallery 98 as 57 it 57 by 54 art 48 an 48 exhibition 46 space 40 be 39 this 35 our 34 are 34 with 33 support 33 was 32 that 30 on 29 use 28 work 26 from 26 at 25 public 23 not 23 artist 22 you 22 new 22 a
30. ets from eprjcts 1 A book able to reverse time f A water damaged Bas Jan Ader book 1 We re cutting out pictures of Koi Carp and swimming men for Dan Graham Narrative drives social cohesion 1 The hedgehog is a specialist the fox a generalist 1 Eastside Projects is a multiplex 1 The withdrawal of support for public good leads to art s separation from society Not the other way around 1 Scaffold training happening right now in the gallery Some sound advice and sensible footwear on show 1 What is the opposite of painting 1 Art is the dismantling of reality 1 Capitalism is over 1 Memorials promote forgetting 1 When don t know what an artist is doing that s when I m having a good time That s when I m seeing art Christopher Williams 1 We must be a thinking space 1 We must never become a brand 1 We care about the area we are in and our city We are compelled to find private revenue income 1 We must work hard to protect ourselves and our partner organisations for the futures that we are able to anticipate 1 We must punch above our weight 1 Develop provision for ultra extra special people 1 Our graphic design is not a reflection of the gallery It is the gallery We must get some leopard skin pattern into our design 1 We must be an important node in the cultural life of our city 41 We need to be just a really nice place to hang out 1 Birmingham is a second city similar to New York 7 We
31. ew long term work for Eastside Projects by Gavin Wade Mobile Wall System with 41 Permanent Pole Positions on a Square and Triangular Grid After Adolf Krischanitz 2011 was conceived as a 24 support system first used for Painting Show November 2011 to February 2012 This new system was reverse engineered from Krischanitz s original by design and fabrication workshop Queen amp Crawford Eastside Projects system now comprises 1 12 powder coated aluminium support poles 281 5 x 5 x bom 1 10 powder coated aluminium support poles 393 5 x 5 x 5cm 1 10 hardwood plywood and MDF panels 281 5 x 197 5 x 5cm 1 10 hardwood plywood and MDF panels 113 5 x 197 5 x bcm f stainless steel bolts 1 stainless steel and brass floor inserts Luc Tuymans The artists collectively planned the exhibition as a joint enterprise defining relationships between each other and redefining functions of the museum space The title of the first Eastside Projects exhibition This is the Gallery and the Gallery is Many Things is adapted from this exhibition and also functions as a policy and slogan EGL Old S MOYS 84 MOUS 94 SI 14 REFLECTING p 40 See FIG 21 draft five The text in FIG 21 has been processed using the online application Wordcounter All of the words used in this manual have been sorted and are shown organised by the frequency of their use 1 Our vocabulary reflects our concerns 1 TurntoILLU
32. f Weinrich k Er F AS n i i AK fy AVE n3 e af s 7 b a rae E zi i AN aN i S M E Des 4 i w 86 Heath Mill Lane Summer 2011 FIG 10 2 Pin A WN AN C4 SN Aw Wr Ay NN AR i NY i M 4 oes FIG 10 1 se ADAPTING 86 Heath Mill Lane Summer 2008 FIG 6 List of groups and individuals who have worked with Eastside Projects continued from p 11 Jennie Pardoe Jenny Andrews Tobias Hanisch Sian Conway Chris Phillips Jess Holt Malcolm Henderson Alison Watson Robert Willis Annabel Wyatt Andrew Moscardo Parker Simon Bailey Peter Brown Sian Davies David Dunphy 24 Alexis Lucia Ellis Simon Fox Gillian Wylde Dom Allen Sophie Lisa Beresford Stephen Cornford Petra Cortright Flat Souffl e Rob Gawthrop Christopher Gladwin Laura James amp Samuel Rodgers Maria Minerva Pete McPartlan Oneohtrix Point Never Alex Peverett LUX Eva Weinmayr S Mark Gubb Katarzyna Kosmala Castlefield Gallery Aid amp Abet BAZ Institute for Boundary Interactions Other Asias Outpost Tactile Bosch The Royal Standard Judy Stevens Paul Harfleet David Raymond Conroy Birmingham Friends of the Earth Digbeth Residents Association Edible Eastside
33. ham Lack of access to affordable secure long term space was a consistent barrier to development 1 Key projects that helped produce the conditions which led to Eastside Projects were 1 B16 The Bond 1 City Space Colony 1 Crowd 6 1 The Foundation Insertspace 1 Periscope 1 Self Service 1 Space Banana 7 Spectacle 1 Springhill Institute 1 In 2012 access to affordable secure long term space for artist led and independent initiatives is no better 1 The artist led space is not a stop gap The artist led space is a public elegant expressions of their functional simplicity 1 The new column is an artwork by Jennifer Tee Local Myths is a three metre high carved carrara marble totem with regular diagonal notches along its sides and a peaked apex an elegant expression of the artist s quixotic practice FIG 13 see PLACEMAKING Jennifer Tee Local Myths 2010 Carrara marble column 1 The new column supports no physical aspect of the gallery but instead supports the notion of local myths with the letters L O C A L M Y T H S carved proud of the surface in vertical succession down the length of its cool veined surface Tee s totem is a long term artwork in Eastside Projects eventually to be located in a permanent site in the Eastside area 1 TurntoPLANTING PLANTING In 2009 twenty Silver Birch trees from Simon and Tom Bloor s Eastside Projects exhibition As long as it lasts were made available to be
34. in it in the condition it is already in 1 For example 1 In support of structure 1 In support of structural trauma 1 In support of ideology 1 In support of the band that everybody really came to see J In support of language 1 In support of someone else 1 In support of erm bishops 1 Beatrice Gibson Definitions of Support in Support Structures 2009 TITLING Furniture Show 1 Printed Show 1 Cutaway Show 1 Game Show 1 High Speed Show 1 Inbetween Show 1 MacGuffin Show 1 Mayors Show 1 Pavilion Show 1 Rip off Show 1 Shit Show 1 Support Show 1 Uber Show 38 1 Comic Show 1 Common Show 1 Critical Show 1 Curating Show 1 Display Show Dymaxion Show 1 Empty Show 1 Evaluation Show 1 Figure Show 1 Fill Show 1 Function Show 1 Herbert Bayer Show J House Show 1 KPI Show 1 Manual Show 1 Museum Show 1 No Show 1 Overprint Show 1 Painting Show 1 Post Show 1 Projection Show 1 Public Show 1 Puppet Show 1 Reality Show 1 Recession Show 1 Riot Show 1 School Show 1 Solo Show 1 Strip Show 1 Super Show 1 Title Show 1 Triangle Show 1 Show 1 Universe Show 1 Upcycle Show 1 Wall Show World Show 1 X Ray Show TRANSFORMING A square plinth was constructed in MDF to support artworks by Athanasios Argianas Michael Dean Tatiana Echeverri Fernandez Lothar Hempel Marko Lulic and Franz West during Sculpture Show May to June 2009 6007 Moys eanjdnos CONINAOASNVAL 995 7L Ol 1 These materials w
35. jects Recent trips have visited Glasgow Nottingham and Bristol WELCOMING See FIC 2 p 1 1 The front door handle at Eastside Projects is an artwork by Matthew Harrison Titled Willkommen Bienvenue Welcome C mon In 2008 it is constructed from the following timbers 1 African Ebony 1 African Padauk 1 American Black Walnut f American Cherry 1 Ash 1 Beech f Brazilian Tulipwood 1 Bubinga 1 Cuban Mahogany 1 East African Pau Rosa 1 Lacewood 1 London Plane 1 Maple 7 Mopane 1 Pink Ivory 1 Purpleheart 1 Pau Amarelo 1 Santin Bloodwood 1 Violet Rosewood 1 Wenge 7 Zebrano 1 Turn to OPENING UPCYCLING A question from the audience at Public Evaluation Event enquired as to why Eastside Projects takes so little care over its choice of envelopes routinely our printed matter is mailed in generic office envelopes 4 In response at the suggestion of Fraser Muggeridge the 1200 overprinted announcements for Narrative Show see OVERPRINTING that remained at the end of the exhibition were transformed into bespoke envelopes Announcements for the exhibitions Painting Show and Corridor Plateau IF were subsequently 43 mailed in these envelopes The format for these two new announcements was determined by the dimensions of the envelopes that could economically be made from the Narrative Show announcements USING Following Public Evaluation Event discussion took place between the six direc
36. k Kyes Alison Tarry Emma Perry James Kennedy Jennifer Andrews Jon Muir Victoria Sprigg Lindsey Crabb Hannah Najjar Lucy Barrritt Liam Smyth Sukhjeven Chumber William Davie Clare Hollingworth Continues on p 24 FIG 24 se DISTRIBUTING Three charts showing Eastside Projects total expenditure on distribution during 2008 2011 etin gU 9 5 9 o 1 2008 2009 2 5 7 743 EM amp 2009 2010 11 974 dc 12 2010 2011 31 493 89 453 ECONOMISING Not all production is commodity production Not all production is production for financial exchange Not all production is determined by supply and demand DESIGNING Maxim No default positions No definitive forms 1 Turn to TYPE DESIGNING DISPLAYING Eastside Projects questions the concept of a default display environment We do not perceive the gallery as a neutral space for staging exhibitions The gallery and its spatial configuration must be reconsidered in response to each new programmatic situation 1 Turn to ACCUMULATING DOCUMENTING See FIG 7 pp 14 17 Artist Stuart Whipps has been making photographic documentation of activities at Eastside Projects from a series of fixed positions since before the gallery opened in 2008 1 In May 2011 Whipps installed eight camera mounting brackets in new fixed positions around the gallery Periodically during Narrative Show May to September 2011 the artist made new pho
37. k Titchner s Cut Us Don t Kill Us 2010 and Carey Young s Inventory 2007 remade for Eastside Projects 2010 1 Turn toPLACEMAKING PUBLISHING Publishing is an important aspect of Eastside Projects activity a mobile extension of the gallery space We produce printed matter books comics and editioned artworks 1 We have represented ourselves at various independent publishing fairs including Publish and be Damned London 2009 Spike Island Artists Book Fair Bristol 2009 Pa Per View London 2011 and The New York Art Book Fair New York 2010 1 TurntoSELLING QUESTIONING We intend Eastside Projects to be a questioning structure that in turn produces more questions and also of course possible answers These typically take the form of exhibitions and curatorial enquiry and are pointed towards a set of innate properties of exhibition making but also beyond that to the sheer elation of organising and discovering objects and ideas in space and context for redefining and transforming essential human tools This is why we exist and why you may wish to use us f Turn to REFLECTING REFERRING At least three exhibition precedents provide reference points and an underlying ethos for the continuing evolution of the gallery as an artwork 1 El Lissitzky s Abstract Cabinet 1926 1930 at the International Kunstausstellung Dresden and Hannover Museum represents a clear and radical emergence
38. lso 20 follow 20 evaluation 19 artwork 18 Birmingham 18 do 18 organisation 18 have through 17 public 16 programme 16 event 16 city 15 within 15 how 15 their 15 were 15 what 14 wall 14 can 14 build 14 make 14 mean 14 show 13 design 13 other 13 form 13 present 13 has 13 each 13 us 13 book 12 staff 12 may 39 12 question 12 these 12 time 12 one 12 part 11 then 11 operate 11 print 11 all 11 display 11 way 11 point 11 structure T context 10 overprint 10 or 10 manual 10 term 10 condition 10 event 10 fund 10 see 10 invest 10 TWEETING Selected tweets from eprjcts HPEE11 We are the production of the to be looked at and the to be attended to 1 We are enablers of display 1 We are the history of artist run space 1 We may not have a fundamental core principle We are exhausting 1 We may advocate for a system of self regulation through a peer network 1 We engage in a system of reputation profile and currency 1 We are not innocent 1 We might not comply with the existing conditions of public support We are disclosers of 40 problematics 1 We want and need advocates 4 We must be patient 7 We are loyal 1 We might not live forever I We must reproduce and become parents 1 We must keep a keen eye on what we are not looking for 1 We must learn from our experiences 1 Make sure we really do 1 We must swap positions with our guests 1 We must do long term cu
39. ltural planning 1 We might be anti and ante I We must develop art that is unfathomable unimaginable 1 We cannot deny that we are connected to the Birmingham of the 1970s 1 We might be a new knowledge micro economy 241914 6000 MOUS 3oe41sqy 1 For the following exhibition Two Short Plays by Liam Gillick November 2009 to January 2010 the tunnel was dismantled and the painted and wallpapered panels were used to construct a new gallery wall as the backdrop for Gillick s plays ie re gt a n coo gt 8 5 TF 5 gee ra te Tra a Seg ta y i a Peada 5 hy T a TRITT Hat f T F Ha Fog uaa 72 4 E 4 T peg Fe TNS F b a g ay BE a x 2 a g a Leg Fe a 2 Fees P au Ra y Ra ul 8 z TR Fo 4 F a a fu z e F 4 uU T L3 d The Volvo rud RE L s d a ba eo Ta wu 8 Bar au Hs E i V Zl 014 6007 S e d HOYS OML 1 In July 2010 the walls were dismantled and the materials used to construct tables book cases and a plan chest for the Eastside Projects office 641014 0100 MOUS 4008 1 Turn to LAYERING TWEETING Selected twe
40. orld the actions that are prompted by sharing information knowledge ideas and conditions 1 Following Public Evaluation Event we revised the job description for one of our staff members to become Gallery Assistant Distribution In this context by distributing we mean 1 Marketing advertising web and other associated elements 1 Lectures talks events 1 Extra Special People programme 1 Turn to SPEAKINC DOG WHISTLING As a contribution to the exhibition This is the Gallery and the Gallery is Many Things September to November 2008 Kelly Large instigated a perverse social ritual in the gallery Each morning following the opening of the building the alarm was left to sound until a passerby or neighbour entered the building to complain This process forced our immediate neighbours a taxi repair workshop and a limousine hire company to enter the gallery where they were prompted to look around During a presentation at Public Evaluation Event Large likened this process to a dog whistle suggesting that Eastside Projects most receptive audience is remote outside Birmingham and encouraging us to continue to foster local relations practice development and the long term concerns of individual members within a group context 1 Turn toFACILITATING CURATING Positioning a thing place message in relation to another Turn to ARTIST CURATING DECODING See FIG 18 p 42 th
41. ort from established art professionals and ESP staff 7 Dialogue between members is generated and supported through a weekly programme of informal and formal events including seminars talks film screenings and visits to exhibitions events and projects in other UK cities 1 Turn to CRITICISING TIMING See FIG 8 p 15 then turn to ESCAPING TITLING 24 Hour Show 1 Anti Show 1 Birmingham Show 1 Build Show 1 Collage Show 1 Collective Show Beth Bramich Gallery Assistant Distribution Gallery Assistant STAFFING In 2010 we employed our first gallery assistants with the support of Future Jobs Fund These gallery assistant posts are offered to developing art practitioners for a period of one year 1 Following Public Evaluation Event we have changed the job descriptions we use for our staff to reflect the constitution of our activities outlined in the entries OPERATING DISTRIBUTINC PRODUCINC These terms have proved to be a useful means of organising our work 1 Turn to PRIVATISINC SUPPORTING 37 Support is the tragic double of the prefix Support can t spend time alone with itself but is condemned to existence only in relation to something else Prefix usually means an entity placed before something else in order to change its meaning such as the in which prefixes inedible but in the case of support a prefix is largely an entity placed before beneath behind below something to mainta
42. planted in the planned Birmingham City Park Individuals and organisations are invited to sponsor a tree A plaque with each individual or organisation s name will be placed in the civic area with the trees promising a commitment of growth and regeneration towards the formation of a new public space Each donor also receives an editioned screenprint by the artists 1 Turn to LOCALISING PRINTING Our communications emphasise printed matter as a rich and vital expression of the sensibilities of the gallery 1 Turn to OVERPRINTIN G PROGRAMMING Each year we programme four to five exhibitions in our main gallery and four to five exhibitions in our second gallery 1 We also present talks and events in various contexts on site and off site 1 See ENGAGING then turn to PUBLISHING PROVOKING We do not make art for the public We are the public that makes art This is how we are of benefit to society Turn to INTRODUCING good Imagine a city with many different Eastside Projects PRIVATISING We are compelled to find sources of private income 1 Turn to POLICY MAKING PRODUCING See FIG 27 p 30 One of three broad terms used during Public Evaluation Event to classify the labour and resources required to maintain Eastside Projects See also OPERATING and DISTRIBUTING proposition production is the actions that lead to making things and what is made Things might be art 29 objects books messages exhibi
43. published for Public Evaluation Event EVALUATING See FIG 25 pp 14 15 The apparatus of Public Evaluation Event consisted of two projectors one displaying supporting visual material required by the contributing speakers the other displaying live updates from the Twitter hashtag 2 APEE11 two stenographers operating stenotypes a monitor displaying live text output from the stenotypes sound and video recording equipment webcasting equipment printed handouts presenting charts and other supporting information see FIG 23 p 42 seating tables and refreshments 1 Turn to QUESTIONING EXHIBITING Art is not exhibited Art exhibits FIG 25 1 25 2 see EVALUATING The apparatus of Public Evaluation Event ug t 1 4774 14 ozor co ui a RA EN E 1 A S P a FIG 8 see TIMING Lawrence Weiner As long as it lasts 2008 Painted text installed on gallery column from October 2008 to October 2009 FIG 7 1 7 2 7 3 see DOCUMENTING Documentation by Stuart Whipps of the exhibition Narrative Show from fixed positions T 5 FUNDING Our exhibition and publication programmes have received additional project specific support from the following bein bodies 1 CFAR BIAD gt al Birmingham City University Diversity Arts Forum The Elephant Trust The Embas
44. rina Riva and Pieternel Vermoortel in east London delivered a performance on the theme of hosting The following is an extract from their script 1 As a statement Eastside Projects takes a very particular conceptual structure that can be conceived of as a practice of hosting 1 1 The host welcomes relatives friends and acquaintances stray dogs passers by back packers and so on 17 1 The invitation is never persistent though yet subtly delivered The host likes interruptions interferences twists and shifts background noises 1 The host collects and produces but never discards 1 Occasionally the host enjoys swapping positions with the guests making the role interchangeable shifting subjectivities The host doesn t host but absorbs 1 Turn to CULTIVATING INVESTING Eastside Projects is a good investment for public and private stakeholders who are seeking to use their funds to generate social value We are currently undertaking a series of Social Return on Investment SROD reports SROI is a principles based 18 method for measuring extra financial value environmental and social value not currently reflected in conventional financial accounts relative to resources invested It can be used by any entity to evaluate impact on stakeholders identify ways to improve performance and enhance the performance of investments Our first SROI has been to measure the impact of our work with the
45. roject Malgras amp Naudet Stan s Caf Daniel Salomon Juneau Projects Stone Canyon Nocturne DJ Simpson Clarke amp McDevitt The Event Viviana Checchia Ceri Hand Pete Cole Jenny Stokes Melissa Kay Hurlbutt Alex Nikitas Georgina Barney Alex Kapila Naomi Paul Kate Hattley Kerry Rousell Dore Robinson Sarah Gordon Amanda Hadingue lan Flynn Katharine Kavanagh Alice Forrest Doug Fishbone Ross McCarry Minta Peltokangas Hannah Kaisa Taskinen Leena Rasanen Bert Ross Simeon Corless We Are Eastside Future Jobs Fund Angela Maxwell Chris Brooke Faiza Rehan Stefanie Andreou Anna Marsh Matthew Scandrett Andre De Jong Richard Savine Madeleine Saether Matt Foster Tacita Dean Hannah James Albrecht Schafer Ines Schaber Douglas Gordon Grace Ndiritu Jeanne van Heeswijk Paul Hamlyn Foundation Breakthrough Fund Common Purpose Fierce Festival hobbypop MUSEUM Sharman amp Co Emmerson Press Katy Woods Michele Mooney Jennifer Tee Richard Niessen Monica Szewczyk Museum de Paviljoens Hamburg Kunstverein Christian Jendreiko Volker Zander Matthew de Pulford Aaron Barefoot Adam Beckley Derek Hales Andrew Hill James Bayley Jim Kennedy David Hately Jonathan Hackett Lucky Singh Andy Bole Andrew Moscardo Karl Held Amin Samman Hannah Spencer David Williamson Manchester Contemporary Mart Spruijt Steenhouwerij Buitenpost bv Nina Beier Marie Lund Ulises Carrion Daniel Eatock Martino Gamper Nina Katchadouri
46. sy of Mexico Fonds BKVB Future Jobs Fund Ikon Gallery Lisson Gallery Mondriaan Foundation TrAIN London College of Communication 1 Additional core funding provided by Business Link West Midlands 1 TurntoOCCUPYING Se A 16 FIG 7 4 7 5 7 6 see DOCUMENTING Documentation by Stuart Whipps of the exhibition Narrative Show from fixed positions HAIRDRESSING Let s build an artworld in the image of the hairdresser The hairdresser attacks the way things are he hairdresser ploughs through facts with the not yet The hairdresser scours reality with alternatives The hairdresser makes systematic mercenary war on what in fact is This is why even the most perfectionist hairdresser is ultimately on the side of wildness The hairdresser trims individualistic and indisciplined growths into unified planned wholes and truth bearing events 1 Freee Whistle blower s Pocket Guide to Dissent in the Public Sphere Incorporating Let s Build and Fuck Globalisation 2010 1 Turn to WHISTLE BLOWING ILLUMINATING See FIG 1 front cover 1 Lighting Eastside Projects INSPIRING See FIG 14 p 29 then turn toCIRCULATING INTEGRATING Eastside Projects considers design organisational structures and architecture to be an integral part of its programme 1 TurntoANSWERING HOSTING During Public Evaluation Event FormContent an organisation founded in 2007 by Francesco Cate
47. tions the layers of making space and its narrative 1 Following Public Evaluation Event we revised the job description for one of our staff members to become Gallery Assistant Production In this context by producing we mean J Exhibition conception 1 Construction 1 Installation 1 Technical equipment 1 Artists fees and expenses 1 Turn to REPRESENTING FIG 14 s PLANTING FIG 27 see PRODUCING Three charts showing Eastside Projects total expenditure on production during 2008 2011 chnic xe 9 2008 2009 42 943 o 30 Wn i Cy 99 9 2009 2010 34 246 5 2010 2011 103 801 von 62 RN 10 OT N 14 n67 won 69 2 isol PUBLICISING The billboards on the exterior and interior of Eastside Projects are the only such display sites in the city operating outside the control of the major advertising corporations 1 Billboard hoardings proliferate in regeneration zones in city centre locations as developers look to maximise their income by offering the use of their sites to communicate to those walking driving and traveling by public transport We declare our publicness through the use of this platform to commission and present artworks 1 Works have included Liam Gillick s Doors Of The Administration Building Will Remain Open 2008 Whatnots Of The Administration Building Will Remain Open 2008 Mar
48. tographs from these positions recording the transformations occurring in the space 4 Turn to REFERRING ENGAGING se also FIG 29 35 Extra Special People ESP is an associate membership programme for anyone who would benefit from engaging with the dynamic ambitious artist led environment provided by Eastside Projects 1 Turn to SUPPORTING ESCAPINC See FIC 12 pp 26 27 then turn toUPCYCLINGCO EXHIBITING We believe in the vitality of the medium of exhibitions 1 Turnto DISPLAYING FACILITATING ESP members meet to develop their own and others practice within a regional national and international context supported by Eastside Projects 1 Turn to VISITING FOUNDING Gee also ECONOMISING and PRECEDING Gavin Wade first conceived and now runs Eastside Projects with a founding collective comprising Simon amp Tom Bloor C line Condorelli Ruth Claxton and James Langdon We are a group of individuals who are motivated by common interests and work together to achieve a common objective Our collective permits us to share decision making processes and exercise political organisational and social power through consensus on an egalitarian basis not focused on financial benefit If Turn toNOT FOR PROFITEERING Economics is not the best method of examining non economic production Economists give artists bad advice 1 The Freee Art Collective Economists Are Wrong The Warsaw Manifesto 2011
49. tors of Eastside Projects about the implications of the term user in the title of this document Concerns were raised that those using the space in any capacity should not be considered to be passive and that Eastside Projects should not be considered to be a pre programmed entity in the same sense as an appliance or any other more typical subject of a user s manual 1 To clarify we mean to cast the user in a self determinate role 44 FIG 20 se CIRCULATING Joanne Tatham and Tom O Sullivan WHISTLE BLOWING Generating and maintaining a dissenting presence in the public sphere Whistle blowing is a calling to attention and a call to account for actions in the public sphere Whistle blowing contests public modes of address complimenting other forms such as radical political slogans disaffected billboard posters protesting performances revolutionary manifestos and rabble rousing videos Artist collective Freee are devising new techniques of whistle blowing techniques that they say we can all use to halt the flow of ideology 1 Turn to PARTNERING Does your contemplation of the stituation fuck with the flow of circulation 2009 Eastside User s Manual RSH OSPF Draft five February 2012 ISBN 978 1 906753 29 0 Edited and designed by James Langdon with Gavin Wade C line Condorelli Simon amp Tom Bloor Ruth Claxton 14 15 Drawings on cover and pages 1 5 7 8 22 23 24 28
50. ts were added to the space in its initial repurposing in 2008 1 See FIG 5 pp 7 8 then turn to DESIGNING ADVERTISING We advertise our events and exhibitions programme in art magazines such as Frieze Art Monthly and Art Review We also advertise in local listings magazine Area Turn to COMMUNICATING ANSWERING Eastside Projects has developed from responses to the following questions 1 How do architecture and design support exhibition making Can architecture and design be used as curatorial strategies as part of gallery programme 1 Can exhibitions reveal the means relationships and underlying ideologies in the making and representation of space 1 Turn to SEQUENCING ARTIST CURATING 3 Positioning a thing place message in relation to another as art 1 Turn to COMMISSIONING BELONGING Eastside is a regeneration area of Birmingham that has frequently changed its boundaries over the last ten years It was established by Birmingham City Council as a rebranding of the former industrial heart of the city meant to reshape the commercial centre and increase the flow of business and civic functions 1 The name has been abandoned and reclaimed on number of occasions Within current proposals Eastside Projects is no longer located within Eastside Turn to STAFFING FIG 22 se BELONGING Nikki Pugh 19 264 Seconds of Qualitative and Quantitative Data Curzon Street 2010 detail Representation of GPS dat
51. usine in Europe loaned by our neighbours VIP Limousines and parked outside the gallery NOT FOR PROFITEERING Eastside Projects is an artist run space as public gallery not for profit company limited by guarantee registration number 6402007 4 We an Arts Council England National Portfolio Organisation in partnership with Birmingham City University supported by the Paul Hamlyn Foundation Breakthrough Fund 1 Turn to BUDGETING OCCUPYING Eastside Projects occupies an industrial building previously a cabinet makers in Heath Mill Lane Eastside Birmingham UK 1 Turn to BELONGING OPENING Eastside Projects is open Thursdays 12 to 6 30pm Fridays and Saturdays 12 to 5pm Closed during installation of exhibitions Admission is free 1 Turn to PROGRAMMING ORGANISING Eastside Projects seeks to continuously question its status as an organisation and respond to the pressures of becoming an institution Our ambition 79 26 OPERATING i ree charts showing Eastside is to incorporate the methodologies of art making Projects total expenditure on 4 operation during 2008 2011 at all scales and functions of the organisation OVERPRINTING aeasouPCvCcLING A series of announcements for the exhibition Narrative Show May to September 2011 were repeatedly overprinted The exhibition was constructed around an evolving narrative scripted by artists 10 000 announcements were printed in
52. very 1 invested generates a return of 7 59 Net benefit for our stakeholders and for the economy of Birmingham 19 is 6 59 for every 1 invested in employment at Eastside Projects by the state 1 We intend to publish the detailed calculations of our completed SROI reports in This is the Gallery and the Gallery is Many Things to be published in 2012 1 Neil Powell is assisting with our SROI Reports 1 Turn to ECONOMISING FIG 9 List of Eastside Projects exhibitions Artists marked with symbol were exhibiting in Birmingham for the first time This is the Gallery and the Gallery is Many Things 21 September to 22 November 2008 Marc Bijl Chen Shaoxiong Spartacus Chetwynd amp Marte Eknaes Bill Drummond Jimmy Fantastik Peter Fend lain Forsyth amp Jane Pollard Liam Gillick Joseph Hallam Matthew Harrison Barbara Holub ISAN Ben Kinmont Kelly Large Heather amp Ivan Morison Magnus Quaife SCUPA Mithu Sen Support Structure Mark Titchner Laureana Toledo amp Rain Li Lawrence Weiner Henrik Schrat One Day Comic 6 December 2008 to 31 January 2009 Shezad Dawood Feature Architecture 6 December 2008 to 31 January 2009 This is the Gallery and the Gallery is Many Things Henrik Schrat i One Day Comic Shezad Dawood Feature Architecture Simon amp Tom Bloor As long as it lasts
53. ynamic sexy cool words We often use maxims and mottos We need more quieter words perhaps 1 Turn to DOG WHISTLING publications selected art magazines such as Frieze Art Review The Happy Hypocrite and editioned artworks 1 Turn to ADVERTISING SEQUENCING book is a three dimensional structure a message sent through a sequential support Ulises Carri n Bookworks Revisited 1979 in Book EP 10 1 1 Turn to SPECIFYING N 4 N NN N 2 2 p_e FIG 16 SEQUENCING SLOGANEERING Turn to INSPIRING SPECIFYING Eastside Projects has a large main gallery space 255 square metres a second smaller gallery 70 square metres equipped for video projection and an office studio Birmingham City University s Visualisation Research Unit VRU offices and studios for image and sound editing are also on site f Turn to LINING STAFFING Eastside Projects is presently staffed by Alex Bailey Gallery Tr Ruth Assistant 1 Elizabeth Rowe s Coordinator 1 Gavin Wade Director 1 Katy Woods ESP Coordinator Turn to CONTRIBUTING Bethan Lewis Gallery Assistant Operation Joseph Welden SUPPORTING see alsoPARTNERING ESP members are offered a range of opportunities to develop their practice and career through critical group discussions practical support and guidance exhibition and residency opportunities networking events and one to one supp
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