Convener: Clive Lyttle
Participants:
Mark Morren, Ajay Chhabra, Becky Thomson
Summary of discussion, conclusions and/or recommendations:
LOCAG – practical question of who should build it
Does an organization exists that can take the lead?
Then build it
Capital question – where does it come from?
Infrastructure
Big contenders who runs it – responsibility – needs to be instigated by an existing authority.
Who is in a position to say this will happen?
ACE
LDA – has a history of Land development
Need proof of need for such a centre
ACE does it establish need through events such as this open space.
Who will fund it
Need to be built in two years time for 2012
Responsibility of sectors
Why are people not taking responsibility?
LDA – Hackney wick building
Dragons Den – need to involve entrepreneurs or corporate bodies
Lord Sugar?
Richard Branson involved?
Top down or bottom up approach to development
Benefit of partners
Is 3 Mills the right site?
Could it be developed on other brown field site?
LDA – Purchase site
LOCAG / ODA bricks and mortar
ACE – what goes on inside ?
3 Mills thought to be an ideal site because of its isolated location i.e. surrounded by water, lee valley etc
Why?
Commitment to legacy
Public money
Animate space of Olympic park
Dress space
Barcelona out door art park/event
Use by festival
Watch out for problems that happen in millennium dome and celebrations etc
Showing posts with label management. Show all posts
Showing posts with label management. Show all posts
Tuesday, 30 March 2010
11 Create a space for carnival arts with in the centre
Participants: Margaret Hamilton, Marva Antoine, Clive Lyttle, Margaret Shweeiay
Lina Jungergarbo
Summary of discussion, conclusions and/or recommendations:
Centre of Excellence for the carnival art form
Including all the elements of carnival e.g.
steel pan. calypso, DJ music costume performance and performance space
• Production and construction
• Multi media and design
• Catering accommodation resource and archives, exhibition space
• Training and conference room
Opportunities
• Employment
• Business opportunities
• Training working with specialist artists
• Supporting social and cultural aspects
How would we be different?
• Practitioner lead
• Working on Major commissioning project
• Community involvement
• Create employment opportunity for the required skills sector
• Manage key events local or international
• Identify it as a business so it becomes sustainable
• Collaboration of art forms
Prove the case
• Getting support for the specialise artists to deliver their art form with capacity
• Building an elite partnership of specialise artist to achieve excellence
• London has a long history of carnival arts, from its cosmopolitan makeup to continue to develop its art form regionally and internationally
• Access the location for 300+ art organisations
• Rising the standards
• Meeting the needs of other future carnivals, festivals, large scale events and celebration events
Conclusion:
To give the specialist artists the resources to produce excellence, innovative project to create employment and enhance the visitor’s economy and increase mass participation
Recommendation:
Create space for specialise carnival artists and its art forms within a world class creation centre
Lina Jungergarbo
Summary of discussion, conclusions and/or recommendations:
Centre of Excellence for the carnival art form
Including all the elements of carnival e.g.
steel pan. calypso, DJ music costume performance and performance space
• Production and construction
• Multi media and design
• Catering accommodation resource and archives, exhibition space
• Training and conference room
Opportunities
• Employment
• Business opportunities
• Training working with specialist artists
• Supporting social and cultural aspects
How would we be different?
• Practitioner lead
• Working on Major commissioning project
• Community involvement
• Create employment opportunity for the required skills sector
• Manage key events local or international
• Identify it as a business so it becomes sustainable
• Collaboration of art forms
Prove the case
• Getting support for the specialise artists to deliver their art form with capacity
• Building an elite partnership of specialise artist to achieve excellence
• London has a long history of carnival arts, from its cosmopolitan makeup to continue to develop its art form regionally and internationally
• Access the location for 300+ art organisations
• Rising the standards
• Meeting the needs of other future carnivals, festivals, large scale events and celebration events
Conclusion:
To give the specialist artists the resources to produce excellence, innovative project to create employment and enhance the visitor’s economy and increase mass participation
Recommendation:
Create space for specialise carnival artists and its art forms within a world class creation centre
Monday, 29 March 2010
07 Who will pay for it? How do we continue to work if/when funding disappears/decreases? Could a creative centre help?
Conveners: Kat Joyce /Jane McMorrow
Participants:
Kat Joyce, Jules Tipton, Mark Mulqueen, Sanaz Amidi, Lucia Smith, Jane McMorrow
Summary of discussion, conclusions and/or recommendations:
Jane introduced her position - working on proposing a business plan for 3 Mills post-2012 which would enable the space to be used a creative centre. But there’s no cash. What are the possibilities?
Issues are: Everyone wants to use the space, but don’t have cash. Who would get paid to manage it? Where you you find investment?
Obvious answer is ACE – but are there other models?
Mixed economy?
It was raised that the curation of a space is intrinsically tied in to where the money comes from to fund it.
Idea from previous session (Julian’s) was re-discussed: 1 or 2 festivals use the space and pay for it in peak season, with other artists using it cheaply off –peak.
Issue: can Street Arts bring in revenue with no box-office?
Jane said that 2 sets of skills are necessary
- skills to manage a space
- skills to develop links with community, internationally, to find demand for work and build relationships.
There is a need and a want for this kind of centre in London.
It was raised that some kind of Artistic Director/curator is needed (as explored in a previous session)
Is there a model whereby street arts are linking to forthcoming large events eg Commonwealth Games/World Cup and funded off the back of these?
Mixed economy seems to be the way forward - but artists often don’t trust it, feeling that it will get in the way of allowing them to concentrate on making the work.
A knowledge gap was described – business sense to artistic ambition.
It can be a burden if artists have to run a building and it impacts on ability to make work.
Creating intellectual capital?
French model, funded by the Lottery: a show is created, and then toured to all of France with the rationale: here’s your winnings from the lottery (free to access art)
How do you maintain that? If the figure was large enough, would it allow endowments?
Benefit to the local community is clear but needs to be highlighted.
A discussion was had about the looming threat of arts cuts: with a proportion of the general public not seeing any value in Govt/lottery spending on the arts, how can we make a strong case for their continued funding and how?
Commercial sponsorship was discussed eg The Orange London Creative Centre.
Again, it was felt that work might be compromised in the interests of maintaining the ‘Brand’ integrity.
Similarly, with a philanthropic approach, there is a fear that only arts which please an individual philanthropist’s tastes would flourish, other more experimental/less glamourous forms would die off.
Mixed economy: Is it better not to have it and to refuse to compromise on artistic integrity, or can compromises be made?
Creation Centre has to be cool, sexy, glamourous, high-profile – using Princes Trust as an example, people will pay a fortune to be associated with this.
London financial centre is on the doorstep of proposed site for Creative centre – how can be encourage more skills exchange from financiers, business experts?
Creative centre needs to be at the centre of a Cultural Quarter – not a centre in isolation.
Creation Spaces are driven by regeneration agenda: developing areas for creative arts makes an area a better place to live – attracts other companies (and middle-class house buyers!)
Local Authority arts budgets are being sliced – ground level projects in difficult areas which really are making community differences are being cut.
A problem was identified that those in the arts see themselves as people who change society (arts change society) but society at large does not view arts the same way.
How about linking up with football organizations who are multi-million pound organizations – ie Tottenham hotspur give 1% of income to encouraging participation in sports and art (but do we want to fly team colours..?!)
Artists are vibrant, trendy and need to capitalize on how these qualities attract rich people!
Example of Rye Old School was discussed – LA handing over an old school to an arts group because it would cost less than securing an empty building. A mixed economy model was developed to run the space: artist rentals, ACE, commercial rentals.
Farnham Maltings model: sliding scale of rent for artists depending on their financial success.
There are plenty of available spaces in London, it’s just a case of working out how to finance using them:
2 models:
- grassroots, no budget, spontaneous, DIY
- all-encompassing, long-term, large scale funding.
You have to know your market v well – at Space there is 97% occupancy and v little subsidy, 600 tenants in 16 buildings, each project very carefully managed.
Talk to the banks – there are banks which will lend generously to arts orgs eg Triodos, an ethical, non profit bank only interested in ethical social enterprises.
Local authorities with cash reserves can’t give capital but can offer preferential rates of borrowing.
Venture capital would perhaps create endowments / interest free loans.
It is likely that worst case scenario is 20% cut to ACE funds in the next funding round.
It was brought up that this uncertainty with ACE means that it’s difficult to get money from banks (funds are only committed for 3 years)
We need to know more about the financial models that have worked in the charity sector, not just the arts.
Could ACE do some information-sharing?
Participants:
Kat Joyce, Jules Tipton, Mark Mulqueen, Sanaz Amidi, Lucia Smith, Jane McMorrow
Summary of discussion, conclusions and/or recommendations:
Jane introduced her position - working on proposing a business plan for 3 Mills post-2012 which would enable the space to be used a creative centre. But there’s no cash. What are the possibilities?
Issues are: Everyone wants to use the space, but don’t have cash. Who would get paid to manage it? Where you you find investment?
Obvious answer is ACE – but are there other models?
Mixed economy?
It was raised that the curation of a space is intrinsically tied in to where the money comes from to fund it.
Idea from previous session (Julian’s) was re-discussed: 1 or 2 festivals use the space and pay for it in peak season, with other artists using it cheaply off –peak.
Issue: can Street Arts bring in revenue with no box-office?
Jane said that 2 sets of skills are necessary
- skills to manage a space
- skills to develop links with community, internationally, to find demand for work and build relationships.
There is a need and a want for this kind of centre in London.
It was raised that some kind of Artistic Director/curator is needed (as explored in a previous session)
Is there a model whereby street arts are linking to forthcoming large events eg Commonwealth Games/World Cup and funded off the back of these?
Mixed economy seems to be the way forward - but artists often don’t trust it, feeling that it will get in the way of allowing them to concentrate on making the work.
A knowledge gap was described – business sense to artistic ambition.
It can be a burden if artists have to run a building and it impacts on ability to make work.
Creating intellectual capital?
French model, funded by the Lottery: a show is created, and then toured to all of France with the rationale: here’s your winnings from the lottery (free to access art)
How do you maintain that? If the figure was large enough, would it allow endowments?
Benefit to the local community is clear but needs to be highlighted.
A discussion was had about the looming threat of arts cuts: with a proportion of the general public not seeing any value in Govt/lottery spending on the arts, how can we make a strong case for their continued funding and how?
Commercial sponsorship was discussed eg The Orange London Creative Centre.
Again, it was felt that work might be compromised in the interests of maintaining the ‘Brand’ integrity.
Similarly, with a philanthropic approach, there is a fear that only arts which please an individual philanthropist’s tastes would flourish, other more experimental/less glamourous forms would die off.
Mixed economy: Is it better not to have it and to refuse to compromise on artistic integrity, or can compromises be made?
Creation Centre has to be cool, sexy, glamourous, high-profile – using Princes Trust as an example, people will pay a fortune to be associated with this.
London financial centre is on the doorstep of proposed site for Creative centre – how can be encourage more skills exchange from financiers, business experts?
Creative centre needs to be at the centre of a Cultural Quarter – not a centre in isolation.
Creation Spaces are driven by regeneration agenda: developing areas for creative arts makes an area a better place to live – attracts other companies (and middle-class house buyers!)
Local Authority arts budgets are being sliced – ground level projects in difficult areas which really are making community differences are being cut.
A problem was identified that those in the arts see themselves as people who change society (arts change society) but society at large does not view arts the same way.
How about linking up with football organizations who are multi-million pound organizations – ie Tottenham hotspur give 1% of income to encouraging participation in sports and art (but do we want to fly team colours..?!)
Artists are vibrant, trendy and need to capitalize on how these qualities attract rich people!
Example of Rye Old School was discussed – LA handing over an old school to an arts group because it would cost less than securing an empty building. A mixed economy model was developed to run the space: artist rentals, ACE, commercial rentals.
Farnham Maltings model: sliding scale of rent for artists depending on their financial success.
There are plenty of available spaces in London, it’s just a case of working out how to finance using them:
2 models:
- grassroots, no budget, spontaneous, DIY
- all-encompassing, long-term, large scale funding.
You have to know your market v well – at Space there is 97% occupancy and v little subsidy, 600 tenants in 16 buildings, each project very carefully managed.
Talk to the banks – there are banks which will lend generously to arts orgs eg Triodos, an ethical, non profit bank only interested in ethical social enterprises.
Local authorities with cash reserves can’t give capital but can offer preferential rates of borrowing.
Venture capital would perhaps create endowments / interest free loans.
It is likely that worst case scenario is 20% cut to ACE funds in the next funding round.
It was brought up that this uncertainty with ACE means that it’s difficult to get money from banks (funds are only committed for 3 years)
We need to know more about the financial models that have worked in the charity sector, not just the arts.
Could ACE do some information-sharing?
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