Convener: Jan
Participants: Jan, Debbie, Phelim, Marcella, Matilda
Summary of discussion, conclusions and/or recommendations:
Grow a building
• Converse with it
• Let it be warm
• Let us see the sky and the landscape
• Let us be cold
• Let people come in and out of it as they wish.
We can’t pre-empt the outcome or product of creativity.
Imposing a structure (imperialistic model) may not be the most effective model of nurturing creativity.
Are we talking about creativity as a product for an industry i.e. a piece of art?
Formal education and teaching plays its part
We operate in a culture of vocational learning, where the true meaning has been lost or forgotten.
We could embrace skills (doing), meta-skills (feeling) and foster a culture of learning how to learn.
No one fails.
The concept of creativity is currently perceived as a subject (art) in schools, rather than seeing it as a fundamental human element and will be with us in all our learning and understanding of the world.
Managing creativity
As people responsible for artists and creative work - we could look at how we manage processes/products that hold the values of Open Space.
Some questions
• Do the people or building come first?
• How do we challenge the dominant cultural models that are output & evidence-based; especially when our funding relies upon us playing that game?
• Can we together say ‘no’ to funders and challenge their perception of creativity and allow it to be organic?
Showing posts with label definitions. Show all posts
Showing posts with label definitions. Show all posts
Tuesday, 30 March 2010
10 What actually is a creation centre and what makes it world class?
Convener: Debra Reay
Participants: Violaime Bailleul, Katie Roberts, Jill Skilling, Phelim McDermott, Jonathon Graham, Abigail Yeats, Robin Morley
Summary of discussion, conclusions and/or recommendations:
What is a Creation Space
• It’s a space to make work, a space that affords the time to think, develop ideas, make mistakes, make new work, to improve and revisit previous ideas, on your own and with other artists. It provides the freedom to take the necessary time and perhaps to fail somtimes.
• A place of encounter
• Notice that this is a process (not necessarily a building), in HE they call it practice led research.
• The creation process must be artist led and defined.
• Proposal - the invitation needs to be to the artist to define their own creation process – this will take a number of forms – possibly requiring the building –large space , small space, - possibly in the form of a retreat, possibly like Cape Farewell on a boat in the Arctic and other.
• Place where artists own and control their work
• London (the city) is the creation centre, with a diversity of practice and places involved in creativity. Much of what we need is already here but not necessarily adequate, affordable. Let’s make what’s here and emerging fit for purpose.
• A (single building) Creation Centre would be a mistake. The diversity of demands, needs, opportunities cannot be met in a single space. A building will always be prescriptive in some way. AND better space is needed. Building can influence the attitude to the work.
• So much of what is around is not good enough – COLD COLD COLD
Space that is warm, clean affordable please.
• We need to be pragmatic.
• The French model is not replicable here – the whole system of supporting artists and funding buildings is entirely different. The creation centre belongs to particular towns / regions. Companies take up residency and produce work for the local/regional festival.
What do we mean by world class?
• A reflection of our (British) inferiority?
• Confidence building
• Place to create product for the international market? (There is a very limited market in Britain).
• An elite place?
Participants: Violaime Bailleul, Katie Roberts, Jill Skilling, Phelim McDermott, Jonathon Graham, Abigail Yeats, Robin Morley
Summary of discussion, conclusions and/or recommendations:
What is a Creation Space
• It’s a space to make work, a space that affords the time to think, develop ideas, make mistakes, make new work, to improve and revisit previous ideas, on your own and with other artists. It provides the freedom to take the necessary time and perhaps to fail somtimes.
• A place of encounter
• Notice that this is a process (not necessarily a building), in HE they call it practice led research.
• The creation process must be artist led and defined.
• Proposal - the invitation needs to be to the artist to define their own creation process – this will take a number of forms – possibly requiring the building –large space , small space, - possibly in the form of a retreat, possibly like Cape Farewell on a boat in the Arctic and other.
• Place where artists own and control their work
• London (the city) is the creation centre, with a diversity of practice and places involved in creativity. Much of what we need is already here but not necessarily adequate, affordable. Let’s make what’s here and emerging fit for purpose.
• A (single building) Creation Centre would be a mistake. The diversity of demands, needs, opportunities cannot be met in a single space. A building will always be prescriptive in some way. AND better space is needed. Building can influence the attitude to the work.
• So much of what is around is not good enough – COLD COLD COLD
Space that is warm, clean affordable please.
• We need to be pragmatic.
• The French model is not replicable here – the whole system of supporting artists and funding buildings is entirely different. The creation centre belongs to particular towns / regions. Companies take up residency and produce work for the local/regional festival.
What do we mean by world class?
• A reflection of our (British) inferiority?
• Confidence building
• Place to create product for the international market? (There is a very limited market in Britain).
• An elite place?
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