Post - Industrial Revolution

Report: Openning of the Post - Industrial Revolution exhibition in Gdansk

2011-06-11T07:47:00.000-07:00

Post – Industrial Revolution project is nearing completion. The artists left Gdansk on Sunday. Kate and I are back in Birmingham too. It was hard to leave the shipyard, an area where nature meets culture, where our artists were producing new art works for a month. Thirty-degree heat did not help to install the exhibition, but strongly encouraged our evening trips to the beach and sipping cocktails in one of the old town's cafes . We found time for both though. After a few days of installing we were ready to discuss artists' works during Thursday's talk, and to finally show their final products during Friday's opening. Aliceson Carter and Matthew de Kersaint Giraudeau shown their works at Modelarnia, Louie + Jesse at the Kiosk. Both spaces are part of Wyspa Progress Foundation. The opening gathered a nice bunch of people, which later transferred to Buffet, Wyspa's club. Currently artists and curators are gone but the exhibition is open until Sunday the 12 of June, from Thursday till Sunday (11:00 - 18:00), at two locations - Modelarnia and Kiosk.

Alicson Carter, performance with Zbigniew Stefanski, Modelarnia, 2011

For the Post - Industrial Revolution Aliceson has developed a performative video piece paying homage to the Gdansk Shipyard. By acquiring a boat, recording her journey, while playing shipyard songs, Aliceson has created a floating monument to the shipyard. With this piece Aliceson attempts to celebrate current and past production within the Gdansk shipyard as well as its origins as the birth place of the Solidarity movement. ‘My boat making and broadcasting of solidarity songs would be a homage, as an outsider, to the people & history of the shipyard’ – says Aliceson. The boat, now situated in Modelarnia accompanies a projection of the filmed voyage. During the opening night Aliceson in collaboration with Zbigniew Stefanski (Shipyard’s bard) recited shipyard songs with a twist. Aliceson sang a new song she has written about the shipyard and regeneration plans for the Young city development plan to the tune of Shipbuilding by Elvis Costello/Robert Wyatt.

Matthew de Kersaint Giraudeau, installation, Modelarnia, 2011

Matthew had developed an installation involving moving image, sound recordings and found materials from in and around the shipyard collected during his wanderings. Matthew describes Post-industrial landscapes as haunting - full of economic, political and ideological histories. During his time in the shipyard he attempts to uncover these histories and connect them with a wider network of contemporary ideas. The installation takes the form of two video works and three audio pieces. The audio works within this exhibition consist of headphones set within pile of debris (sand/dirt/rubble and other found objects). Each audio piece is an interview with individuals Matt has met during his time in Gdansk, drawing on issues which have caught his interest such as the young city development, as well as stories from Wyspa Sobieszewska, the island on which Matthew was staying during the residency period.

Louie + Jesse, If we stop now, they will crush us like bed bugs, audiovisual installation, Kiosk, 2011

Louie + Jesse have created a site-specific installation exploring the shipyard strike of 1970 and 1980. They are interested in the so called selective cleansing of history, how some areas are left as monuments and others (the messy elements) are demolished. They are interested in exploring the role of Alina Pienkowska in Shipyard’s strikes, an activist and nurse who became stranded in the clinic during the strike activity. They researched a particular moment within the strike’s history, just before communication lines were cut off. A moment where Alina made a quick but vital phone call to Jacek Kuroń stating details of the strike including its demands. As a result information about the strike was relayed worldwide. It is an understated but significant moment within the shipyards history. Having acquired a kiosk space just outside Wyspa Institute of Art as a location in which to realize their artwork, Louie and Jesse have developed a site-specific installation. The installation appears to be a cross between a hospital room and a hotel room. Their work draws on archival material about Alina but is also influenced by the recent young city developments and regeneration taking place within the shipyard grounds.

Back in Gdansk

2011-05-31T11:25:00.000-07:00

Alernativa opening

So we have been back in Poland for 4 days now and so much has happened. After a long journey from Birmingham we arrived at Wyspa laden down with baggage. We managed to take a quick snooze before the opening of Alernativa, an art festival organised by Wyspa taking places around the shipyard. It was an immense opening; over 50 internatioanl artists are showing at Alternativa which will run until the 30th September. It was a great opportunity to meet new artists and to catch up with our own Post Industrial artists.

On Sunday Roma and I accompanied Aliceson to Kuznica a small town on the Hel peninsula. A couple of weeks earlier Aliceson found a fishing buoy washed up on the beach close to her accommodation on Wyspa Sobieszewska. It’s a beautifully made object and Aliceson decided to embark on a 3-hour train journey to return it to the fishing boat it belonged too. She researched a code written on the side of the buoy and found out where it originated. So on Sunday morning we set off with her to re-unite the buoy with its owner. When we arrived at Kuzica train station we were greeted by a sea of mosquitoes, much like our trip to Puck during our last visit. It was quite terrifying!

After walking along the coast for a few minutes we found the gate to the dock, and by chance met a man who recognised the buoy as belonging to his friend. Unfortunately the owner could not collect it so we left the buoy with the dock security guard happy in the knowledge it would be safely returned. For Aliceson, the discovery of this buoy instigated the development of a side project to her main exhibition pieces, more will be revealed about this later.

Monday was a particularly busy day, were Aliceson embarked on a boat trip around the shipyard Island, the make shift boat (adapting an existing rowing boat) became a floating monument to the shipyard. Roma and I were lucky enough to hitch a ride on the speedboat which towed Aliceson’s boat. It was amazing seeing the shipyard from sea level. It’s wonderful having the opportunity to realise this performance, footage taken from this trip will form a video pieces which will be shown during the exhibition. We want to say a big thank you to Nick for towing the boat along and making this all possible.

Our other Post industrial artists are working hard developing and installing their works. Louie and Jesse are slaving away on their installation in a kiosk outside of Wyspa, and Matt is continuing to conduct interviews and develop his installation in Modelarnia. Today has been a day of cleaning and preparing Modelernia, it’s a big job and we’ve had to be very resourceful when clearing the space as we have limited storage. It all starts again tomorrow!

Matthew de Kersaint Giraudeau

2011-05-24T01:16:00.000-07:00

Screen shot from Liverpool Fugue 2010

As an artist Matthew is interested in the idea of the flaneur. A flaneur being someone who experiences an environment by walking through it, in order to understand it. He is also interested in the parallel idea of the fugue, which is a state of psychological breakdown accompanied by loss of identity and long periods of seemingly aimless wandering. People who undergo dissociative fugues have been known to travel many hundred of miles, suddenly becoming aware of what has happened but having no explanation of how they got to where they are.

He views walking as a critical process. ‘When you walk, you think. Your thoughts are led by what you see and you reflect upon your environment. To walk in a post-industrial environment is to begin to understand the history of such an area on a human scale. To exist as an individual in a post-industrial landscape is a way of challenging that environment and its inevitably de-humanising nature.’

Matthew works predominantly with sound, whether video, performance or installation, his works are often led by the sound, particularly spoken narration. This narration is then underpinned by soundscapes made from his recordings.

Matthew has previously undertaken residencies at the Royal Standard in Liverpool, and the Lombard Method in Birmingham, both in 2010. During these residencies Matthew focused on the post-industrial landscapes of each city and made work that dealt with the micro-histories that exist in such environments.

Liverpool Fugue - A lecture with slide-show given on the opening night of The Festival, a solo exhibition at The Royal Standard in Liverpool

http://blip.tv/file/4363624

This is Not a Public Right of Way - A video made as part of a residency at The Lombard Method in Birmingham, in Summer 2010.

http://blip.tv/matthewgiraudeau/no-public-right-of-way-3718970

louie+Jesse

2011-05-19T09:27:00.000-07:00

louie+jesse are a visual/sound/performance art collective of two core members, with varying associates. Having trained at the Royal Welsh College of Music and Drama, they work in multiforms such as performance installation, sound sculpture, and site-specific video, combining an enthusiasm for new technologies and materials with an analogue aesthetic. They are particularly interested in the interplay between external space and personal body, their pieces are often politically engaged and respond to place, history and community.

Previous works includes Capillary a large scale installation developed as part of the Ganze/Teile exhibition in a derelict office building in East Berlin, July-August 2010. This installation consisted of vast quantities of bright industrial drainage tubing carry sounds from one place in the building to another. The tubes disappear and reappear through the many holes in the floors, ceilings and other areas, not limited by rooms or straight walls, some paths traceable and some unclear.

histoires concrètes is a project realised by louie+jesse in PeerGrouP’s P.A.I.R. (www.peergroup.nl) – a temporary residence for artists. It consists of two six-metre containers where the artists lived and worked for one month (Nov/Dec 2010). Situated in a remote rural location - between fields, wood and mudflats, near the village of Finsterwolde. The final piece for this project formed an unconventional map of the local area, inviting physical experience of place and exploring both the limitations and potential of ‘history’ and communal narratives. Made from local clay soil, the sculptures embody the different processes evident in the landscape, and changed radically daily with the weather.

Aliceson Carter

2011-05-18T03:14:00.000-07:00

Aliceson Carter, Homage to the 1968 Paris protests and the legacy of Marcel Duchamp, 2008

We would like to introduce the practice of each artist taking part in the Post-Industrial Revolution residency . We begin with Aliceson Carter. Her Art practice revolves around observation, and as such reflects the world around us. She graduated from Goldsmiths College in 2009. During her time there she made a piece of work where she paid homage to the 1968 Paris protests and the legacy of Marcel Duchamp (who died in Paris in 1968). She carried a urinal from his Paris residence to Birkbeck University in London, documenting the journey in a 5hr video piece. This was shown at 1968: Impact & Implications conference in July 2008. Since graduating she has taken part in a research lead project in Berlin, documenting the Berlin border of today with Kodachrome photographic film from the 1980s, when the Berlin Wall was in force. A 2010 residency in Sweden documented the Tranäs Cruising event, an annual parade of hundreds of restored vintage American cars around the town. She has also recently travelled to Kansas to record the last days of Kodachrome processing for my Kodachrome Pre Paid Processing Packet Project. In all these projects she has been interested in exploring the community, history & locale. This has lead to making work that focuses on the sense of time & place and our interactions within them.

Matt's daily reports from his Post-Industrial Revolution experience

2011-05-17T16:26:00.000-07:00

Kate and I unfortunately had to head back to Birmingham leaving our artists in good hands of our project manager - Marta. Thus we can't keep you as much updates as we wish. Surprisingly Matthew turned out to be enthusiastic blogger. You can read almost daily reports from his Post-Industrial Revolution experience in Gdańsk on his blog http://ashortdescriptionofmypoo.blogspot.com/

It was fascinating read for me. It is always interesting to read what people from other countries think about your country, and Matt has got a lot to say. I can't wait for more!

Week one of residency

2011-05-14T00:56:00.000-07:00

So it’s been a busy time for Post Industrial Revolution. Roma and I embarked on the first of two-scheduled trips to Poland last week, initiating the second part of the project. We set off a little under the weather but powered through. After a day of re -familiarising myself with Wyspa, Modelarnia and the shipyard, as well as discussing practicalities with Marta and Roma we were good to go.

Two of the four British artists, Aliceson and Matt arrived bright and early Friday morning. We then embarked on a busy day, dropping off artists baggage at the accommodation, beach frolics, and a spot of lunch followed by a trip to Wyspa.

Monument at Westerplatte

The following day we got all touristy and jumped aboard a ferry to Westerplatte, historically significant as the location were Germany invaded Poland on 1st September 1939, initiating the Second World War. We visited a monument dedicated to the 182 Polish Solders who lost their lives defending the city, keeping the Nazi’s at bay for a staggering 7 days. The ferry trip offered fantastic views of the shipyard from the water showing just how vast the Gdansk shipyard really is. The afternoon was spent exploring the shipyard on foot, the highlight being Aliceson’s discovery of a huge polystyrene cube! We are hoping to borrow or possibility rent this object for the exhibition. After talking to Marta I discovered that scrap or discarded object in the shipyard can be borrowed or rented rather then taken. I rather like this idea of loaning found materials. Different parts of the shipyard are owned by different companies or individuals, so it’s just a case of finding out who owns the polystyrene. The day was rounded of with dinner, an opportunity for the artists to meet different members of the Wyspa team and indulge in some tasty polish delicacies.

Matt and Aliceson surveying the cube

Exploring the shipyard

Sunday involved an epic journey to a town called Puck to witness 400km, a project in which camper vans filled with artists and art visit small towns in the surrounding area of Gdansk. We went part of the way by train and the remainder packed into one of the artist's camper vans. Unfortunately upon arriving at our destination we were engulfed by a plague of mosquitoes! It was almost biblical. The event was cancelled but we took it as an opportunity to explore the town. We then stopped off for a beer in Gdynia, the second largest city making up the try cites of Gdansk, Gdynia and Sopot.

Louie and Jesse explore the shipyard

Monday marked the arrival of the artist duo Louie and Jesse. Their first day in Gdansk followed a similar formula to that of Matt and Aliceson's, the difference being we had the opportunity to explore the residency studio space within Wyspa and store room facilities. This is where I came across our old friend Lech Walesa, this model of him was installed in Wyspa's gallery space during my last trip to the shipyard a year previously.

After a trip to Modelarnia and more exploring we bid farewell to our artists. We will be returning to Gdansk in two weeks time to see how they're getting on.

British artists arrived to Gdańsk!

2011-05-11T10:23:00.000-07:00

Gdansk Shipyard famously the “Cradle of Solidarity’’ and a key industrial site within Polish History shall play host to four emerging British artists intending to explore its heritage.

The Artists’ visit marks the final stage of Post Industrial Revolution, an artistic residency exchange developed between the UK and Poland focusing on the former industrial areas of Birmingham and Gdansk, in particular the districts of Digbeth and the Gdansk Shipyard.

The artists from the UK has just begun the one month residency from the 5^th of May until the 5^th of June 2011, using it as a period for research and for the production of new art works directly responding to the Gdansk Shipyard, its historical and social context. These newly create art works will be displayed in an exhibition at Modelarnia, a former industrial space, originally utilized for the building of model ships and part of the Wyspa Progress Foundation. The exhibition will take place from Friday 3rd until Sunday 12th June.

British artists taking part in the residency are louie+jesse (Jessica Mautner, Louie O’Grady), Matthew de Kersaint Giraudeau and Aliceson Carter.

The comparisons between Digbeth and the Gdansk Shipyard as post industrial sites are of significance, each city has at some stage been deeply affected by the demise of industry, its movement abroad, and more recently the development of cultural and leisure industries in these former industrial areas. Co-curator of Post – Industrial Revolution Kate Pennington – Wilson outlined ‘The focus of this residency exchange is for artists to develop work which responds to these environments, reflecting this shift in usage as well as the change in social, political and industrial history of such spaces’.

Modelarnia

2011-04-20T05:09:00.000-07:00

Here's a sneaky peep at Modelarnia the space artists will exhibit work at end of the residency period.

As an artistic structure Modelarnia functions as a collaborative of artists and is a non-profit organization, based within Wyspa Progress Foundation. Modelarnia joins the functions of studio space with exhibition space. In its past programme events have had a multidisciplinary and interdisciplinary character. This space hosts meetings and events with artists, art theoreticians lectures, curators and acts as a residency space for artists. Moderlarnia has staged concerts and performing-art shows as well as a Festival of Young European Cinematography.

Modelarnia is not at white cube, but rather a more industrial, open plan area spanning 400 m2, Modelarnia roughly translates as 'the place where model ships are constricted' giving you an insight into its history.

SHIPYARD IN THE EYE OF THE GUARDIAN

2011-04-13T13:13:00.000-07:00

Marcel Theroux and Shehani Fernando, from The Guardian, carried out a brief report about the art scene in Gdansk, Wyspa and the resistance and anti-regime movements in the late ’80s. The feature falls into the New Europe, conducted by The Guardian mini-series of stories about the new European Union countries. Watch it here.

Successful artists accepted for the 'Post-Industrial Revolution' residency in Gdańsk

2011-04-12T00:33:00.000-07:00

We are pleased to announce the artists who have been accepted for the 'Post-Industrial Revolution' residency in Gdańsk in May 2011 :

Aliceson Carter http://www.aliceson.co.uk/

louie+jesse http://yyyprgfjisgahfgp.wordpress.com/ and http://mixedfibres.wordpress.com

Matthew de Kersaint Giraudeau http://www.dekersaint.co.uk/

BUY YOURSELF WYSPA!

2011-04-11T05:31:00.000-07:00

Wyspa is raising funds to buy the building they are renting in order to continue and further develop their activities. They will not be able to raise the required quota by yhemselves in such a short time but the task is achievable given our commitment together. Everyone can influence the further existence of Wyspa in the former Shipyard area.

Since 2004 Wyspa have been in the grounds of the former Gdańsk Shipyard, and since 2007 they have been renting the building from the current owner, the BPTO. The moment is propitious for them to buy the building at a preferential price. However they can only do this within a very short time. Wyspa enjoys a good reputation thanks to the artistic activities, which create a dialogue between the fields of art and political reflection.

In 2010, Wyspa initiated the two-year-long International Art Festival – Alternativa, which is opening new perspectives on the cultural map of Gdańsk, and we are also supporting Gdańsk’s candidacy for the European Capital of Culture 2016.

In the course of our seven-year-long activity on the grounds of the former Shipyard area, they have put a great deal of energy into improving the condition of the building. That’s why they are so connected with this area. That’s why they would like to stay there.

The environment of the former Shipyard area, so full of historical and social emotions, has inspired artists for years. Wyspa, apart from its exhibitions, discussions and workshops, is conducting an international residency programme, a multi-media archive and a bookshop. Their research activities into issues of contemporary artistic culture are also geared towards cooperation with local inhabitants, who, like Wyspa, constitute part of the community in the district of Młode Miasto [the Young City]. The new district should have its own places of culture. Wyspa has been recognised and praised, not only in Poland but also in the international arena, which has helped to build the positive image of Gdańsk as a vibrant centre of contemporary art.That’s why they need your help!

The Wyspa Institute of Art public collection is being conducted with the agreement of the Ministry for Internal Affairs and Administration and with the understanding of the owner of the building, the BPTO.

Special bank account number for the public collection:

PL 26 1020 1811 0000 0402 0156 1414

Bank PKO BP SA III O/Gdańsk

SWIFT CODE: BPKOPLPW

Bank transfer details:

Fundacja Wyspa Progress

ul. Doki 1 budynek 145B

80-958 Gdańsk

Donate by Pay Pal

They will keep you up to date on the subject of how the collection is going on their website. People and organisations that wish to be named among the acknowledgements on Wyspa's website are asked to confirm this fact by sending an email to ola.grzonkowska@wyspa.art.pl stating your full name or the name of the company together with attached proof of payment.

Only Solidarity and Patience will Secure our Victory

2011-04-11T05:12:00.000-07:00

We are approaching the second part of our project - a residency in Gdansk! This is so exiting!

In the meantime a part of Gdansk visited Digbeth!

A billboard 'Only Solidarity and Patience will Secure our Victory' depicting strikes from the Gdansk Shipyard hang on the wall above the entrance of Eastside Projects. The billboard is a work by an artistic collective 'Slavs and Tatars', and it forms part of a multiplatform project '79.89.09', that re-imagines an Iranian Polish solidarity, constructed in equal parts through archival research and original work. The project looks at three key dates:1979 (the Iranian Revolution), 1989 (the collapse of communism) and 2009 (the financial crisis). Along with the billboard artists prepared a publication as well as an installation of river bads and an Iranian and Polish book archive.

Exhibition is open until the 16th of April 2011.

Photos from the exhibition in the Lomabrd Method

2011-03-13T06:16:00.000-07:00

MASH HER DIP, Family Brand, an installation, 2011

Christian Costa, part of photographic installation THE GANG OF FOUR MICHEL, GIORGIO, JACQUES, SLAVOJ, 2011

Christian Costa, the part of video installation SITE SPECIFIC CINEMA DIGBETH, AN AUTOBIOGRAPHY, 2011

Christian Costa, part of photographic installation THE GANG OF FOUR MICHEL, GIORGIO, JACQUES, SLAVOJ, 2011

Kamila Szejnoch, For what?, film documentation of mural painting, 2011

Post - Industrial Revolution wouldn't happen if not kind help of many people. Thank you all!

2011-03-10T13:03:00.000-08:00

With special thanks to: Adam Smythe, Alicja Kaczmarek, Andy Green, Anna Lenart, Anna Cielecka-Gibson, Anita Mann, Daisy Foster, Daniel ‘Newso’, Emma Bowen, Gemma Mitchell, Hanna Nadobna, Julia Skupny, Joanne Masding, Joe Welden, Karolina Kosciuch, Kelly Merriman, Liz Davies, Maria Garcia-Bernal + housemates, Martyna Winkel, Matt Foster, Matt Geden, Natalia Oleszak, Nicky Getgood, Nicola Lowery, the Pennington - Wilsons, Penny McConnel, Rachel Darke, Sam Groves, Sandra Hall, Sarah Farmer, Tim Stock, Tymoteusz Jozwiak

Organisations: Wyspa Institute of Art, Anchor Pub, the Custard Factory, Eastside Projects, The Lombard Method, Friction Arts and VIVID .

Family Workshop

2011-03-04T17:25:00.000-08:00

Last Sunday marked the end of Post Industrial Revolution in Digbeth and we concluded the exhibition activity by hosting a creative workshop. The family workshop lead by Kelly Merriman with the assistance of Hanna Nadobna (thanks ladies!) was a great end to this busy residency and exhibition period.

During the workshop children and grownups were encouraged to create their own versions of the Birmingham Coat of Arms using a variety of materials. In an unusual twist we included in the workshop materials food products such as Typhoo tea, Bird’s Custard and Cadbury coco powder! This aided the exploration of work by Kamila Szejnoch and culinary group MASH/HER/DIP.

The children produced fantastic pieces and didn’t hold back with the food based products, in fact there was an overwhelming smell of coco by the end of the workshop!

Christian's Costa commision for the Post-Industrial Revolution

2011-02-26T04:52:00.000-08:00

Christian Cista, the part of video installation SITE SPECIFIC CINEMA: DIGBETH, AN AUTOBIOGRAPH, commissioned as part of 'Post - Industrial Revolution' curated by Kate Pennington-Wilson and Roma Piotrowska, 2011

Christian’s artistic practice is focused on identities connected to places and perception of the genius loci. For Post-Industrial Revolution he developed a site specific expanded cinema, which he describes as a medium capable of joining cinema, television, video, video art, documentary and fiction. Christian has created an installation in two parts, consisting of film and found imagery reflective of his time here in Digbeth. He carefully selected images, often with political connotations (such as CCTV cameras).

Christian Cista, the part of video installation SITE SPECIFIC CINEMA: DIGBETH, AN AUTOBIOGRAPH, commissioned as part of 'Post - Industrial Revolution' curated by Kate Pennington-Wilson and Roma Piotrowska, 2011

Christian Cista, a set of postcards for Birmingham, commissioned as part of 'Post - Industrial Revolution' curated by Kate Pennington-Wilson and Roma Piotrowska, 2011

Artist also produced the set of photographs for Birmingham which hilights 'uniportant' sites of the city. He is interested in forgotten spaces such as the hidden river Rea, city graveyards (now utilized as parks), as well as derelict public houses of Digbeth. Showing this disused places brings them to attention again and rediscovers their forgotten haritage.

Chris also placed some books in the gallery by thinkers he is inpired by: Slavoj Zizek (First as tragedy, then as farce), Michel Foucault (Discipline and punish), Jacques Rancière (Hatred of Democracy) and by Giorgio Agamben. He created a cosy corner with a chair - as a place to read, to see the installation and to watch the film. Visitors are invited to read the books and to share their thoughts on the pages.

Christian Cista, the part of photographic installation THE GANG OF FOUR: MICHEL, GIORGIO, JACQUES, SLAVOJ, commissioned as part of 'Post - Industrial Revolution' curated by Kate Pennington-Wilson and Roma Piotrowska, 2011

For what? - Kamila's Szejnoch commission for the Post-Industrial Revolution

2011-02-23T11:59:00.000-08:00

Kamila Szejnoch, For what?, commissioned as part of 'Post - Industrial Revolution' curated by Kate Pennington-Wilson and Roma Piotrowska, Custard Factory, 2011, photo by Nicky Getgood

The Exhibition will be open until the end of this week so this is the last chance for you to see outcomes of the month-long residency of Polish artists in Digbeth.
In this post you can find more information about the work of Kamila's Szejnoch, which will be followed by posts about other artists in the next few days.
During her stay Kamila Szejnoch has developed a fascination with the Birmingham coat of arms, using it as a focal point of her research. In particular she is interested in the motto for the city ‘Forward’.

The coat of arms of Birmingham

For Kamila exploring the significance of symbols and monuments associated with a city is significant, and she often develops whole bodies of work in relation to obscure local references to civic pride. She tries to approach outdated layers of the past by adding something new, contrasting with its original style or function. Her works often consist of two elements, one is history and tradition, the second is more contemporary, open, playful and interactive.

For Post – Industrial Revolution Kamila has developed a series of site specific interventions through out Digbeth. Most notably ‘For what?’ a large scale text piece situated in a car park next to the Custard Factory facing Digbeth High St. ‘For what?’ is a direct response to the 'Forward' mural, an earlier art work referencing Birmingham's coat of arms in a car park on Heathmill Lane. 'For what?” aims to instigate a dialogue about the past and future of the district by responding to the statement ‘Forward’ with a question.

Newso, Forward, art work referencing Birmingham's coat of arms in a car park on Heathmill Lane, photo by Nicky Getgood

The exhibition and workshops Post - The Industrial Revolution

2011-02-22T08:47:00.000-08:00

Taking part in the Post - The Industrial Revolution workshop is a great opportunity for a creative Sunday with a whole family. This session begins with a look around the exhibition followed by creating works of art relating to the themes present in the show.
All ages welcome but children must be accompanied by an adult.
Space for workshops must be booked in advance via e-mail:
postindustrial.revolution@gmail.com

Workshop for parents and children
Sunday, February 27, 2011, 11.00-12:30
Lombard Method, 68a Lombard Street, Digbeth, Birmingham, B12 0QR
Free admission

Exhibition
Saturday 19 February - Sunday 27 February 2011
The exhibition is open from Thursday to Sunday from 11.00-18.00
Lombard Method, 68a Lombard Street, Digbeth, Birmingham, B12 0QR
Free admission

Post - Industrial Revolution: Exhibition 19 – Sunday 27 February 2011 Open Thursday – Sunday from 11am -6pm

2011-02-20T08:21:00.000-08:00

Preview, The Lombard Method, 18 February 2011

After a very busy week of installing we are happy to invite you to the exhibition!

Saturday 19 – Sunday 27 February 2011

Open Thursday – Sunday from 11am -6pm

The Lombard Method, 68a Lombard Street, Digbeth, Birmingham, B12 0QR

Admission free

Below you can find some pictures from the talk, Fridays opening and after party in the Anchor Pub!

Preview, The Lombard Method, 18 February 2011

MASH/HER/DIP, Preview, The Lombard Method, 18 February 2011

Preview, The Lombard Method, 18 February 2011

Kamila Szejnoch, Preview, The Lombard Method, 18 February 2011

Preview, The Lombard Method, 18 February 2011

After party in the Anchor Pub and a very special Post-Industrial Revolution ale!


Artist's Talk, Eastside Projects, 17 Feb 2011


Artist's Talk, Eastside Projects, 17 Feb 2011

Tomorrow: Artists' Talk

2011-02-16T13:41:00.000-08:00

Post-Industrial Revolution, the crit, 11 Feb 2011, the Lombard Method

Come and join us for the artists talk! The talk will give you an insight in what we were doing through the last month.

Thursday 17 February 2011, 6.30 - 8pm Eastside Projects, 86 Heath Mill Lane, Digbeth, Birmingham, B9 4ARFor further information visit http://www.extraspecialpeople.org/

Culinary Delights

2011-02-16T01:33:00.000-08:00

Well with the arrival of MASH/HER/DIP two weeks ago our schedule became phenomenally busy! The girls got straight into research mode. The first few days involved lots of walking around Digbeth locating building which were previously home to food based manufacturing or processing. It turns out there was a lot of fish and bacon curing in the area. There was also a Typhoo Tea Factory and most famously the Birds Custard Factory. There are still working abattoirs in Digbeth, slaughter houses aren’t something I would have initially associated with the area, but I suppose it makes sense with all the transportation links nearby. Unfortunately most other food based production has declined over the years.

Mapping out food production in Digbeth

The girls have developed a strong interest in the Polish Center situated on Bordesley Street in Digbeth. It’s an amazing 1950s build frequented mainly by Poles who immigrated to the UK after the Second World War. MASH/HER/DIP have dedicated much of their time to developing connections with people who visit this centre on a daily basis, many of them ex workers from factories and workshops in the region. Their intention was to develop a dinner for these people they make connections with during the residency.

During this period the girls have experimented with creating a recipe which draws from the food based manufacturing Birmingham is famous for, incorporating ingredients such as Cadburys chocolate, Birds Custard and Typhoo Tea in such an inventive way. You’ll have to make a visit the exhibition to find out what culinary delights they came up with.

Off-site project by Kamila Szejnoch

2011-02-15T09:12:00.000-08:00

Parts of our Post-Industrial Revolution project is based off-site. Kamila Szejnoch, who usually works in a public space, realised a mural refering to one of the Birmingham's most signifficant symbol. We can't tell you what is it yet, but you can have a look on it on the Custard Factory's wall just now. It has been painted on the wall in the car park and is visible from Digbeth High Street. Tthis is how the wall of Custard Factory looked before Kamila started to paint:

Custard Factory map

Post-Industrial Revolution is looking for volunteers!

2011-02-14T16:33:00.000-08:00

Yes, you can find out how does the realisation of an artistic project look like from the inside. Working with us is a great opportunity to learn and meet interesting people. As a volunteer, you will be a part of our team working during production of the residency in Birmingham and with planning the Polish leg of the Post-Industrial Revolution project.

If you’re interested, please email us on postindustrial.revolution@gmail.com

How to find us in Digbeth: the Lombard Method

2011-02-14T16:09:00.000-08:00

It takes 15 minutes to get (by bus or on food) from Corporation St to the Lombard Method. Take the bus number 5 or 6 from Corporation St and get off on Bradford St opposite Mosley St (the bus stop just after the White Swan pub) and turn right into Mosley St, then walk up the road. The Lombard Method is on the corner with Mosley St and Lombard St in Digbeth on the left hand side.

Adress: The Lomabrd Method, 68a Lombard Street, Digbeth, Birmingham, B12 0QR

Post – Industrial Revolution: call for submissions for an art residency scheme in Gdansk, Poland. Deadline: 20th March 2011

2011-02-05T17:15:00.000-08:00

About the project

Post Industrial Revolution is an artistic residency exchange between the UK and Poland focusing on the cities of Birmingham and Gdansk, in particular the areas of Digbeth and the Gdansk Shipyard. The comparisons between Digbeth and the Gdansk Shipyard as post industrial sites are of significance, each city has at some stage been deeply affected by the demise of industry, its movement abroad, and more recently the development of cultural and leisure industries in these former industrial areas. What interests us is how visual art can be seen to carry out and reflect this shift in usage, the change in social and industrial history of such spaces and its implications.

Post-Industrial Revolution is developed in collaboration with Wyspa Institute of Art (Poland) and the Lombard Method (UK). The Project is conceived by curators Roma Piotrowska and Kate Pennington – Wilson in partnership with Polish Expats Association. Post – Industrial Revolution is supported by the National Lottery through Arts Council England and Birmingham City Council.

For more information about the project visit http://www.postindustrialrevolution.blogspot.com/

http://www.postindustrialrevolution.eu/

About the residency

Three artists from each country will be selected to take part in the project and invited to respond to the industrial heritage of these districts. The Digbeth element of the residency is currently underway; information about chosen artist can be seen on our website and blog. We are now seeking submissions from British artists to take part in the second strand of this project. The three applicants from the UK will be offered a 1 month residency (May 2011) in Gdansk. This Residency will culminate in a two week exhibition hosted by Wyspa Institute of Art. A series of events including a workshop and artist talk will be developed to accompany the exhibition.

We particularly welcome applications from early career artists with an interest in develop site specific works.

Post – Industrial Revolution offers:

Accommodation for 1 month in Gdansk
Flight costs
Expenses @ £250 per person for 1 month
£250 towards Material costs for each artist to develop new art works (please note this amount will need to include the hire costs of any equipment required)
Use of space within Wyspa Progress Foundation
An organized Group critique developed through Wyspa Institute of Art offering artists feedback and critical discourse during the residency
The opportunity to take part in an exhibition internationally
The opportunity to develop relationships with artists and creatives affiliated with Wyspa Institute of Art , other art organizations and artists based in Gdansk

The chosen artist will be expected to:

Develop research focusing on the history and social context of Gdansk including visiting museums, galleries, archives etc.
Produce site responsive work, reflecting the changing nature of Gdansk Shipyard and its historical context which will be displayed during the final exhibition. Work must be new and can consist of any media (installation, performance, video, photography, painting, sculpture, etc.).
Take part in an artist talk during the residency period, (offering insight into each artist’s individual practice). This will take the form of an open discussion between artists and curators.
Engage in artistic and curatorial dialog with the curators, project manager and the Wyspa team in the development of their ideas and activities
Engage with local communities during their stay and take advantage of opportunities for critical and artistic discourse and exchange of ideas

To apply for this residency you must be:

at the early stage of your career
A Bristish citizen or resident in the UK for 3 years or more

To apply please send

1. Your reasons for applying (no more than one side of A4)

2. Project proposal with an example budget of up to £250 for developing new work (no more then one side of A4)

3. Your CV

4. Examples of previous work. A selection of photographs, or other documentation of your work. A CD of images is also acceptable. (Please do not send original artwork).

5. A completed equal opportunities monitoring form (you can find it here).

Please send applications via email to postindustrial.revolution@gmail.com

or via post to Roma Piotrowska, Flat 3, 14 York Rd, B16 9JB, Birmingham, UK.

Deadline for receipt of applications: Sunday, the 20^th of March 2011. We will notify successful applicants by 5th April 2011. It is anticipated that successful applicants will arrive in Gdansk during the 1st week of May 2011.

For an informal discussion prior to submitting an application contact Roma Piotrowska or Kate Pennington-Wilson via email postindustrial.revolution@gmail.com

MASH/HER/DIP

2011-01-29T17:07:00.000-08:00

MASH/HER/DIP, Dinner with a Cannary, Malta Festival Poznan, 2010

In a few days we are expecting the arrival of a culinary art group MASH/HER/DIP, which is created by Olga Badowska, Joanna Baranowska and Anna Kasińska. The group officially began in 2009 but the artists had worked with each other before on numerous occasions. Anna and Olga run the Underground Restaurant – a private underground restaurant commenting on the
tradition of elitist meetings. Together with Joanna, they created their interactive multimedia performance “Pampering” in New Theatre in Warsaw and run a Food Jockeys Night in one of Warsaw biggest theatres – Teatr Dramatyczny – Café Kulturalna. Their latest project called “Dinner with a Canary” was created within New Situations at Malta Festival Poznan 2010.

MASH/HER/DIP perceives feeding their audience with their unique dishes as a tool allowing them getting inside of the viewer in a subtle and sometimes brutal way. Food is an essential ingredient of every performance. The viewers and participants always co-create the project and become its crucial element. The group use various means of expression in their project such as video art, acting/performing and sound. All their activities are preceded by thorough research and study. Cooking allows MASH/HER/DIP create a completely different reality and gives an
opportunity to look deeper into our everyday existence.

MASH/HER/DIP, Dinner with a Cannary, Malta Festival Poznan, 2010

Upcoming events

2011-01-28T15:09:00.000-08:00

Birmingham Coat of Arms

2011-01-25T11:09:00.000-08:00

Birmingham Coat of Arms, Spring Hill Library

I’ve been doing a bit more digging into to the history of the Birmingham Coat of Arms. It looks as though its origins began when the borough of Birmingham was incorporated in 1838 and it adopted the armorial bearings of the de Bermingham family as its seal.

When Birmingham was given city status in 1889, it gained the right to add supporters. Two figures were added a man on the left representing industry holding a hammer, and a woman on the right symbolised art, dressed in white she holds a brush and an artist's pallet in one hand and a red book in the other. Other alterations included an ermine fess taken from the Calthorpe family arms and a mural crown made of bricks which represented local government.

Birmingham Coat of Arms, Kent House

In 1974, the old Birmingham corporation changed, this time to include the Borough of Sutton Coldfield. The fess was exchanged with a cross and the mural crown in the centre of the shield was replaced with a bishop's mitre. A Tudor rose was added and the figures moved to opposite sides of the shield. The man also acquired a cupel (representing the significance of Birmingham jewellery making) to hold along with the hammer.

Birmingham coat of arms, Victoria Square

Week one of the residency

2011-01-24T14:15:00.000-08:00

Following on from Roma’s discovery of St Basil's, it’s been a jam packed week, beginning with a 3.30 am trip to Digbeth coach station to pick up our second artists Christian Costa last Wednesday morning. Since then we have taken artists on various walks around Digbeth as well as introducing them to the Central Library and their studio spaces at The Lombard Method. We have also played scrabble and attended openings at art spaces such as VINYL and TROVE. I was keen to witness Polish/Italian food shopping, Chris spent more time choosing the correct olive oil then selecting the wine, it was an education for me, resulting in some exquisite Italian cuisine, thanks Chris! On the subject of food, we had a lovely meal on Friday evening with the artists and members of Polish Expats Association at Cafe Soya.

During these early days of the residency Kamila has developed an interest in the Birmingham coat of arms and perticualrly the moto for the city 'Forward' which has now developed into a mild obsession amongst all of us! I now feel the need to photograph any kind of reference to the coat of arms whenever we come across it. The design is situated on street signs, lamp posts, and even graffiti all over the city. There was a comical moment where upon discovering the coat of arms on a bin on New Street Kamila, Chris and I spent a little too long staring at it much to the amusement of passersby.

Meal on Friday evening with the artists and members of Polish Expats Association at Cafe Soya.

What, where, when - find out about our upcoming events!

2011-01-22T16:34:00.000-08:00

Digbeth an area traditionally at the heart of British industry plays host to three emerging Polish artists exploring its heritage. Their month stay will accumulate in an exhibition summarising their research of Digbeth and its historical and social context.

Artists:

Christian Costa, Kamila Szejnoch, MASH/HER/DIP

Artists' Talk

Thursday 17 February 2011, 6.30 - 8pm

Eastside Projects, 86 Heath Mill Lane, Digbeth, Birmingham, B9 4AR

For further information visit http://www.extraspecialpeople.org/

Preview

Friday 18 February 2011, 6-9pm

The Lombard Method, 68a Lombard Street, Digbeth, Birmingham, B12 0QR

Admission free

Exhibition

Saturday 19 - Sunday 27 February 2011

Open Thursday - Sunday from 11am -6pm

The Lombard Method, 68a Lombard Street, Digbeth, Birmingham, B12 0QR

Admission free

Parent & Children Workshop

Sunday 27 February 2011, 11am-12.30pm*

The Lombard Method, 68a Lombard Street, Digbeth, Birmingham, B12 0QR

Admission free

*All ages welcome, but children must be accompanied by an adult. Workshop

places have to be booked in advance via e-mail: postindustrial.revolution@gmail.com

The Project is conceived by Birmingham-based curators Roma Piotrowska and Kate Pennington-Wilson in partnership with Polish Expats Association (PEA). Post-Industrial Revolution is developed in collaboration with the Lombard Method (UK) and Wyspa Institute of Art (Poland). The call for submissions for British artists will be circulated in January 2011 with the residency and exhibition taking place from May 2011 at Wyspa Institute of Art (Gdansk).

Post – Industrial Revolution is supported by the National Lottery through Arts Council England and Birmingham City Council.

For further information please visit www.postindustrialrevolution.eu

Contact: postindustrial.revolution@gmail.com or 07507361837

The first day of the residency

2011-01-18T10:24:00.000-08:00

St. Basils Church, Heath Mill Lane, phot. Ell Brown

Kate Pennington-Wilson and I collected our first artist Kamila Szejnoch from Digbeth Coach station yesterday evening, so the residency has officially started. The first day went very well. The weather was good, we had an original fish & chips from the Rag Market and we discovered some new facts about Digbeth. We also had a proper look into a fascinating building, the St Basil's Church in Digbeth which is now the St Basil's Centre on Heath Mill Lane. St Basil's Centre works with young people to prevent youth homelessness. In the 1960s building was the meeting place of the Double Zero motorcycle club. A lovely lady who works there let us in and shown arround, so we could see this great example of Arts and Crafts primitivism, constructed in 1910-11 to a design by A.S. Dixon, from the inside. Building was refurbished in the 1980s, so even though the original chapel is still there, the nave is filled in with the offices. Originally the building was built as a catholic church, but now the chapel can be used from time to time by all religions.

Birmingham Rag Market, phot. mondoagogo

Kamila Szejnoch

2011-01-14T04:42:00.000-08:00

Kamila Szejnoch, Swing, installation, Memorial to the Berling Army Soldiers, Okrzei Street, Warsaw, September 20th, 2008

Today we would like to introduce you to Kamila Szejnoch's art practice. Kamila deals with art in a public space. She has realised installations, sculptures and urban designs in several European cities such as Warsaw, Oslo, Belgrade, Yerevan, Fribourg, and Lublin. Her favourite topics are history, ideology and religion – the elements which influence our identity. She tries to approach outdated layers of the past by adding something new, contrasting with its original style or function. Most of her works consist of two elements. One is historical and traditional, second one is more contemporary, open, playful and interactive. One of her public space projects suggested the change of the function of post Soviet monuments, which served the communist propaganda to commemorate Polish-Soviet brotherhood in arms. Her intervention into those grim monuments has ‘changed’ them into big toys – carousel, slide and swing. The installation “Swing” (September 2008) was based on a contrast between monumental bronze Army soldier and a tiny individual swung by a big hand of history. Her aim was to highlight historical complexity, to show relation - individual versus historical machine.

More about Kamila's works: http://www.kamilaszejnoch.com/

Socio-political changes in both cities

2011-01-12T14:59:00.000-08:00

David Miller, factory, Digbeth

Birmingham has developed significantly through the Industrial Revolution, therefore, has a reputation of a working-class city. Trade unions were created in Graet Britain in 1824 and became popular during the Industrial Revolution in many countries. Both, the Gdansk Shipyard, and Digbeth, were not only important industrial centers, but also witnesses of socio – political changes. Archive footage shows Digbeth, as a place where closing of factories, anti-fascist marches, and worker's strikes were taking place, due to recession, unemployment, demise of industry, and its movement abroad. In Gdansk, Strikes which were held in the shipyard 30 years ago by the 'Solidarity' (the first independent trade union in the Communist bloc), helped to overthrow communism in the Central - Eastern Europe.

Digbeth related footage you can find here:

http://www.macearchive.org/Media.html?Title=28292

http://www.macearchive.org/Media.html?Title=28329

http://www.macearchive.org/Media.html?Title=2555

http://www.macearchive.org/Media.html?Title=23030

http://www.macearchive.org/Media.html?Title=1048

http://www.macearchive.org/Media.html?Title=15675

Christian Costa

2011-01-09T07:17:00.000-08:00

We would like to introduce the practice of each artist invited to take part in the Post-Industrial Revolution residency . We begin with Christian Costa who was born in Warsaw and now lives in Naples, Italy and Warsaw. He explored the world of art having living in many different European cities such as Wien, Milan, Rome, London. Christian’s artistic practice is focused on identities connected to places and perception of the genius loci. In 2002 along side L.Dalisi, M.Galateo, P.Mezzacapo he founded the container collective, an artistic group and a visual design studio. From 2002 to 2006 he has had twenty exhibitions under the name container. During 2009 he conceived and created, along with the artist Fabrizio Ajello, the public art project Spazi Docili [Docile Spaces] www.spazidocili.org focused on the city of Florence. Other works of his in the field of public art were produced as part of Progetto Isole and N.EST projects.

Project called N.EST (Napoli Est, East Naples), is curated by Danilo Capasso and it's focused on the eastern part of the city, a place where everything that people can imagine related to Naples (art, sea, architecture, archaeology...) is simply lacking. It's a huge industrial area with a lot of very interesting buildings (industrial archeology), some really polluted zones, some little villages absorbed by the city, different types of public housing (government founded in the '60, '70 and '80), the main part of the port, the Business District (Centro Direzionale) and a lot of districts with different characteristics.

Christian Costa, Neapolis Est cycle, digital photography, 2008.

Christian Costa,, Neapolis Est cycle, digital photography, 2008.

Christian Costa, Neapolis Est #001: Centro Direzionale [Business District] cycle, digital photography, 2007.

Christian Costa,, Neapolis Est cycle, digital photography, 2008.

'Progetto Isole' started in the 2005. During the first edition the group of artists had workshops and meetings with local community for six months. They among others organized a workshop to teach how to properly write an art project and apply for money.

In 2005, Chris with his artistic group, took a gray element of the landscape and paint it over with fundamental colors. This simple action changed the life of the entire community. The installation, the painted concrete was a real challenge for everyone in town, but the real success were the kids screaming with joy when we only appeared with colors and brushes! Everyone has to tell his opinion, it was imposible to ignore this thing. The sense of community I felt during this work is something hard to describe. Especially the youngests understood that if you can change your landscape, you can change your future.

Photos from the Frangiflutti cycle, analog photography, 100 cm x 70 cm, 2005, Christian Costa

His preferred techniques are installation, video and performance, often focused on sound (sound art, sound installations). He uses digital and analog (Hasselblad) photography to explore the ‘desert of the real’ and to produce raw materials to edit in his videos or to assemble in collages, drawings or installations. The idea of ‘place’ is his medium. He is interested in identities connected to places, in the way they are perceived by the people living there and by the people coming from the outside, in the mutual relationship between identity/memory and physical space, as well as in the consequences that socio-economic processes have on cultural perception of space.

Digbeth an area traditionally at the heart of British industry shall play host to three emerging Polish artists intending to explore its heritage

2011-01-06T14:47:00.000-08:00

View of Digbeth and the sign ‘A Hundred thousand welcomes’ A translation of a traditional Irish greeting, in Gaelic ‘Cead mile failte’ , phot. David Miller

We are expecting the artists from Poland (Christian Costa, Kamila Szejnoch and MASH/HER/DIP) very soon. The Artists’ visit will mark the official beginning of Post Industrial Revolution. Artists will begin the one month residency from the 15^th of January till the 15^th of February 2011, using it as a period for research and for the production of new art works directly responding to the district of Digbeth, its historical and social context.

These newly create art works will be displayed in an exhibition at the Lombard Method (Digbeth), an artist run studio and project space, from the 18^th of February 2011. The call for submissions for British artists will be circulated in January 2011 with the residency and exhibition taking place from May 2011 at Wyspa Institute of Art (Gdansk).

Co-curator of Post – Industrial Revolution Kate Pennington – Wilson outlined ‘The focus of this residency exchange is for artists to develop work which responds to these environments, reflecting this shift in usage as well as the change in social, political and industrial history of such spaces’.

Both Residencies will be accompanied by a series of events including Workshops, Artist Talks and Screenings.

Post-Industrial Revolution is developed in collaboration with the Lombard Method (UK) and Wyspa Institute of Art (Poland). The Project is conceived by Birmingham based curators Roma Piotrowska and Kate Pennington – Wilson in partnership with Polish Expats Association (PEA). PEA is a not for profit organisation.

Post – Industrial Revolution is supported by the National Lottery through Arts Council England and Birmingham City Council.

The future of Digbeth

2011-01-03T13:32:00.000-08:00

Both Gdańsk and Birmingham have large post-industrial areas near city centers. In Gdansk it's the Shipyard, in Birmingham - Digbeth. Both cities plan to extend existing city centres developing those areas. Questions such as: what do we do with all these warehouses and factories? Should we break them down or leave?Should we save the old urban structure, or start from the scratch? are current in both cities.

What will be the future of Digbeth? 'The Big City Plan' (arguably the most ambitious and far-reaching development project in the UK) aims to enhance the character of late 18th and 19th century transport engineering and to preserve the industrial character of the district (read more here). In October 2009 Ikon Eastside hosted a panel discussion about Digbeth and Eastside's future development. They were also showing some archive footage from Media Archive for Central England. Click here to listen to a recording, view pictures and watch the footage.

Successful artists who are accepted for the 'Post-Industrial Revolution' residency in Birmingham

2010-12-17T14:20:00.000-08:00

We are pleased to announce successful artists who are accepted for the 'Post-Industrial Revolution' residency in Birmingham in January 2011 :

Christian Costa http://www.containerart.it/ and http://www.spazidocili.org/

Kamila Szejnoch http://www.kamilaszejnoch.com/

MASH/HER/DIP http://www.mashherdip.blogspot.com/

Uncertain Eastside by Nikki Pugh

2010-12-14T09:25:00.000-08:00

GPS drawing from two laps around Eastside, Nikki Pugh

Today we would like to present another Digbeth related art project by Nikki Pugh, Birmingham based artist. She was repeatedly walking around the perimeter that defines Eastside for a month and a half, trying to pay attention to how these spaces are being used at different times and by different groups of people. ‘In 2006 this was mostly all unknown territory to me – she writes. - By 2009 it was still mostly unknown territory, but now with small incursions around Digbeth and Curzon Street. When I decided I wanted to return to some of the questions raised by the area’s regeneration, it was apparent that my first step should not to be to research it in an academic manner, and subject myself to all the spin, but to get out there and experience it directly’.

Artist was documenting the process of walking using a GPS technology, which logged her position once every second. She was interested to see how the cityscape affected her position as seen by the machines. As Nikki writes on her blog, GPS is not as accurate device as we would expect. ‘Looking at the results from any one walk I can see a whole host of different glitches and errors. To be honest, they’re what make GPS an interesting thing for me to work with’ – she writes. She finally invited other people to join her for an investigative walk. They were walking, exploring and documenting this fascinating area. Photographs and video from this escapade you can find here and here.
You can also buy a 'Document one: 2009', publication documenting the project . The book comprises details of an artwork by Pugh, photographs contributed by participants of a Walk and Talk event and also texts by Ben Waddington, Joe Holyoak and Tracey Fletcher.

somewhere in Digbeth, photo: Nikki Pugh

investigative walk, photo: Nikki Pugh

The Italian Quarter

2010-12-13T13:32:00.000-08:00

Through our recent research we were excited to discover Digbeth had an Italian Quarter, further fuelling our interest in Digbeths diverse social heritage. From the early 19th century Italians began to immigrate to Britain due to major changes within Italy such as the Napoleonic occupation, famine and increased population growth. Many Italians began to undertaking seasonal migration to surrounding nations, a number arrived in Britain and stayed.

By the mid 19th century an Italian quarter began to develop around Fazeley Street in Digbeth and this area was nicknamed ‘Little Italy’. During the 19^th and early 20^th Century the Italians in this district were best know in the city for making and selling ice-cream, being successful in this trade until WW2, often selling from hand-carts and attracting customers by ringing handbells.

Following WW2 however many Italian men who had lived in Britain for less than 20 years were treated with suspicion, many were sent to camps in different parts of Britain. This, and the redevelopment of the central bomb-damaged district led to the rapid dispersal of the community.

An interview with Joseph Mattiello MBE, an ex-resident of the Italian Quarter, reveals interesting points about the integration between Digbeth's communities. He explained that St Michael's Church on Albert Street, a traditional place of worship for Italians in the area, was also known as the Polish and the Irish Church.

See our new fantastic website !

2010-12-10T15:37:00.000-08:00

We are very pleased to announce the launch of our new website: http://postindustrialrevolution.eu
You can find there some amazing photos of the Gdansk Shipyard by Michał Szlaga and of Digbeth by David Miller . Keep your eyes peeled for Polish version soon!

Polish Club in Digbeth

2010-12-06T13:11:00.000-08:00

In almost every bigger city in the UK you can find Polish Centre. Polish people have travelled here throughout the centuries. However, many Poles arrived to Great Britain as political émigrés during and after the Second World War, and during communism time. After Poland's entry into the European Union in May 2004 new generation of Poles have arrived here and it is estimated that presently Polish diaspora has around 30,000 people in Birmingham.

In Birmingham Polish Club ( aka Polish Millenium House) is based in Digbeth, and was established in 1963 by Poles connected with local Polish Catholic church, for their own money.

Nowadays, Polish Club is much less popular throughout Polish community than it used to be.

Why? According to Guardian “This place is a real oddity. Very old fashioned and mainly inhabited by ageing Poles. Pictures of the (last) Pope abound ”, and there is much truth in it. Nevertheless, I enjoy the food in the restaurant and this specific 'travel in time' climate whenever I go there.

You can find a restaurant, an English-style pub and a shop there. From time to time they also organise some cultural events, activities for mothers and children, as well as choir classes. Polish Club have rooms for hire, so don't be surprised if you find a bridal shop there, Polish Secondary School and even a University! On Saturdays they organise Saturday's Polish School, where children of emigrants can learn Polish. Troubling for me is only that this place represent the entire Polish community in Birmingham, when in fact is shaped mainly by the older generation focused around the Catholic Church.

This German-English couple have been coming to the Polish Shop in Millennium House since 1969. 40 years ago this was the only one Polish shop in Birmingham – says Rita - nowadays there are dozens. I met them while they were waiting for fresh bread for already 2 hours! They know when bread is delivered, so usually they come just on time, but this day the driver was late, so they had to wait.

Thank you to all those who submitted their applications!

2010-12-02T15:58:00.000-08:00

Yesterday was the deadline for Polish artists applying to take part in the residency scheme in Birmingham. Thank you to all those who submitted their applications, we've had an overwhelming response. We now have the exciting task of reviewing applications and will let you know the results very soon!

Quick updated about cake competition

2010-12-02T15:55:00.000-08:00

Unfortunately we didn't win, but we had tremendous fun taking part and left with bellies full of sugary goodness. The overall winner was TROVE with an amazingly decadent rainbow snow ball cake. Joint second prize went to More Canals Than Venice with a tasty chocolate and beetroot cake and Kino 10 who produced some yummy blueberry and cinnamon muffins.

Post-Industrial Revolution is baking a cheesecake

2010-11-29T15:26:00.000-08:00

We, as the Post-Industrial Revolution team, were recently invited to baking competition by new Birmingham based creative organisation, the Neighbourhood. They have invited all other creative organisations they could think of, to create interesting platform for getting to know each other better. Behind us the most difficult part - we had to bake a cake! We will bring it along on the aforementioned chilly November Eve, and their panel of judges will pick a winner. Me and Kate met yesterday to conjure amazing Polish cheesecake with English Custard powder in it! We will let you know if we win soon.

Irish community in Digbeth

2010-11-28T06:48:00.000-08:00

The presence of Irish people in Birmingham was first recorded in the 1600s. However the first major waves of migration began in the 1820’s as large numbers immigrated to England in a bid to find work and escape poverty. Even larger numbers began to arrive during the 1840’s to escape the devastation of the Great Famine.

During the 19th and early part of the 20th century every inner-city district of Birmingham had an Irish quarter or an Irish street. At the beginning of the 19th century large numbers of Irish people lived in the poorest parts of central Birmingham, gradually moving outwards as the city itself grew. In central parts of the city over 20% of the population were first generation Irish, while in parts of Digbeth the Irish population reached 55%.

High unemployment in Ireland during the 1950s lead to another wave of migration, many migrants took up jobs building Birmingham's roads and housing estates. Economic problems during the 1980s brought more Irish people and by the 1990s approximately 70,000 first generation Irish people were living in Birmingham.

Although the Irish community has dispersed across the city, many view Digbeth as their spiritual home. There are a large number of Irish pubs in the area and the headquarters for the Irish community Forum. In addition Digbeth boasts the third largest St Patricks day parade after Dublin and New York.

The influence of the Irish community in Digbeth is now visually represented through a public artwork by Irish artist Dave Sherry situated at the entrance of the newly renovated Digbeth coach station. The Irish Quarter Visual Artwork greets visitors with The sign ‘A Hundred thousand welcomes’ A translation of a traditional Irish greeting, in Gaelic ‘Cead mile failte’

Custard's second face: Budyn

2010-11-26T08:53:00.000-08:00

I have to admit something. When I was writing the post about custard, I knew custard only from descriptions. When I finally tasted it yesterday I was astonished that actually I know custard very well, as it is know in Poland as Budyn (pronounced boodinn )! On this blog you can read about the discovery of Budyn by one Englishman. What is more, while Custard is always vanilla-flavoured, you can find Budyn in a whole range of flavours, such us: strawberry, chocolate, cherry, raspberry and many others.

Rescue Geography: Digbeth's 'forgotten' past

2010-11-23T07:58:00.000-08:00

Lonely survivor of the clearcutting to create the Ventureast site, photo: David Miller

In 2007 and 2008 experts from the University of Birmingham developed a project to make sure Digbeth's past is not forgotten. ‘The Eastside project’ focused on redevelopment of the Digbeth and Deritend areas of Birmingham. Experts researched sites being redeveloped for historical artefacts, record interviews and exhibit items. They gathered people's stories about this part of the city. As you can read on Rescue Geography website sometimes they've just chatted to people in cafes, but they also asked people to give them guided tours of the area, recording what they said and - using sat nav technology - where they said it. Researchers invited a photographer Dan Burwood, who took pictures of interviewees in places within Digbeth that have particular meaning to them. From artists’s statement: ‘In 2005 I started to make portraits of people in Digbeth, on the street and in pubs, pictures that evidenced a context visually, and interested me more and more in the place as I spoke to the people that allowed me to take their pictures. You could see how fast things might start to change in the area, and, as much as I was happy with some of the images, it was the stories and people I met that made a greater impression, and which seemed to be lost behind the surface of the prints, and my poor retelling of our meetings’.

An exhibition of the work in Digbeth and Eastside took place 24-31 October 2008. You can see details of the interviews here

You can also Download the exhibition catalogue and many other useful documents

photo: David Miller

the Custard Factory

2010-11-20T15:19:00.000-08:00

Every Anglophile knows what the custard is, but not everyone knows - that this traditional English sauce, eaten with so many traditional puddings, was created in Birmingham! It was first made in 1840s by pharmacist Alfred Bird, for his wife who was allergic to eggs. This egg-free alternative very quilckly swept away the original egg-based custard sauce and went into mass production! It was produced in the Custard Factory in Digbeth. The factory was built 100 years ago by the inventor of custard, and as you can read on the Custard Factory website, at one time he had even a thousand people working there. After many years original Bird's Custard is still there, available on the supermarket shelf. Also the building, where it was produced, remained till today and is home to a vibrant community of 500 artists and small creative enterprises. Artistic comunity has been there since 1990.

Custard Factory circa 1995:

The Rea Garden - triangular piece of land located in Digbeth

2010-11-20T08:32:00.000-08:00

The Rea Garden is a triangular piece of land located in Digbeth. Once there was a factory there, now only some ruins and a few burned beams remained. After twenty years of lying fallow, it was restored to life by three artists hiding under the name Behind Closed Doors . They invite other artists to produce work relating to the space and also organise exhibitions. That idea absolutely amazed us, especially because is very similar to what was happening in Gdansk in the 80s on the Granary Island thanks to artists like Grzegorz Klaman, Kazimierz Kowalczyk, Jacek Staniszewski, Eugeniusz Szczudło, Jarosław Filiciński, Robert Rumas and many others. Here, too, artists have grubbed up bushes overgrowing the space between the ruined walls and created a gallery - studio under the open sky, where nature mixes with culture.

Below there is a photo of the show of Claudia Borgna, who uses plastic bags in her art and creates installations that are not only aesthetically beautiful but also raise a very important problem of production and collection of waste. Traveling around the world made her realise how great the production of waste is, and how much it is settled in the natural landscape. Claudia does large scale installations, massively invading the space, thus referring to mass production. She tries to build awareness of overproduction of waste. Her works emphasize the conflict between culture and nature, and their interactions.

Claudia Borgna

The Event 2009

2010-11-19T02:27:00.000-08:00

The Event 2009 was a contemporary arts festival which took place in Eastside (Digbeth) intending to highlight artist-led activity within the city of Birmingham bringing together a multitude of artists, curators and artist lead projects. It was developed by Birmingham Contemporary Art Forum (established in 2006).

The Event was delivered by some of the city’s key artist-led groups in an attempt to explore a variety of contemporary arts activity demonstrating the diversity of the thriving arts community in the city.

For more information regarding the Event visit http://the-event.org/about/

Florilegium, Jacques Nimki

2010-11-17T08:14:00.000-08:00

Florilegium, Jacques Nimki

Another project directly referencing Digbeth’s regeneration is Florilegium, installed at Ikon Eastside by artist Jacques Nimki during the summer of 2007. For Florilegium (traditionally a Victorian pastime, meaning to collect and catalogue plants) Nimki collected weed specimens from in and around Digbeth, an area of Birmingham going through a surge of regeneration. These specimens were then cultivated and eventually planted within Ikon Eastside creating a visually stunning indoor meadow within a former factory space. Nimki highlights these seemingly overlooked weeds encouraging the viewer to reconsider them ‘bringing to light their medicinal, magical and aesthetic qualities, thus challenging traditional notions of value and beauty’ encouraging the viewer to reassess their surroundings.

‘Here, the outsiders of the plant world can be found, determinedly pushing through cracks in the concrete or

wrapping themselves around street signs and lampposts. Undervalued and overlooked they nevertheless thrive in this most urban of environments. ‘

The distance between us - Digbeth based project relating to site, regeneration and themes of a similar interest

2010-11-13T17:04:00.000-08:00

Public Notice by Karin Kihlberg & Reuben Henry. Originally commissioned as part of 'the distance between us' curated by Capital Art Projects, 2004. Re-presented for Architecture Week 2005. Photo by Chris Webb

the distance between us (developed by Capital Arts Projects in 2005) focused on two districts of Birmingham with strong links to the city’s indusial heritage, Digbeth and the Jewellery Quarter. the distance between us sort to commission three new artworks responding to the changing nature of these areas as the result of regeneration, the demise of industry/manufacturing and the development of new enterprise. A major objective was the commissioning of works that existed in the public realm but not necessarily dependant on a physical/ permanent realisation.

The first of these commissions, Public Notice was developed by Karin Kihlberg and Reuben Henry and comprised of a tour of public houses within the Jewellery quarter and Digbeth. Public Notice aimed to address the ‘social, architectural and cultural traditions associated with “the public house” a quintessentially English tradition.

Kihlberg and Henry suggested that the regeneration programmes in Birmingham are partly to blame for the disappearance of the traditional public house, now being replaced by themed bars, gastro pubs and national chains. Traditional pubs have historically played a huge part in the social structure of industrial areas such as Digbeth and the Jewellery Quarter, but with the demise of industry and its workforce many have become redundant.

The tour offered an opportunity to voice the artists concerns over their decline but also act as a celebration or homage to the remaining pubs within these districts. ‘The tour was commemorated in a limited edition artwork – a box containing illustrations, historical trivia, anecdotes and colour swatches.’

The second commission was a series of site orientated photographs by Sans Façon. Sans Façon ‘began in 2000 as a collaboration between artist and architect, their work attempted to reveal the idiosyncrasies of a city through its imperceptible and often disregarded detail’.

Albion Street by Sans Facon, 2005. Commissioned as part of 'the distance between us' curated by Capital Art Projects. Photo by Ming de Nasty.

For the distance between us they attempted to capture aspects of Digbeth and the Jewellery Quarter by photographing elements and then installing the photos at the precise locations of which they were taken; the works are then frozen in time and remains constant while surroundings constantly change.

This series of interventions is a direct response to the regeneration of Birmingham but is something which echoes redevelopment both nationally and internationally. It acts as an archive of activity preserving a specific moment in time.

The third commission by Simon Pope, took the form of a series of short texts related to his research into ‘the act of walking as contemporary art practice, suggesting ways we might sense and make sense of the city’.

‘The Text offered the reader simple instructions through which they could ‘investigate a particular aspect of an urban environment through everyday activity for example what it is to remember, meet, follow or know’

For the distance between us Pope developed texts written in response to Birmingham’s Digbeth and Jewellery Quarter, however similarly to the work of sans façon, these text pieces could reference regeneration on a larger, national scale.

Between where we are and where we want to be, 2005. Commissioned as part of 'the distance between us' curated by Capital Art Projects.. Photo by Capital Art Projects

These text works originally intended to be presented through local newspapers were placed within the publication for the distance between us as a removable insert. One final text piece ‘Between where we are and where we want to be’ was placed on a placard and walked around the city.

Kate Pennington-Wilson

Find out more about Digbeth

2010-11-03T11:36:00.000-07:00

Find out more about Digbeth on the 'We Are Eastside' website! This is a brilliant guide to 'Birmingham's cultural playground'.

We especially recommend text We Are Eastside – Birmingham’s Creative Playground by Ben Waddington.

Post – Industrial Revolution: call for submissions for an art residency scheme in Birmingham, UK. Deadline: 1 December 2010

2010-10-16T14:04:00.000-07:00

Polish version

About the project

Post-Industrial Revolution is developed in collaboration with the Lombard Method (UK) and Wyspa Institute of Art (Poland). The Project is conceived by curators Roma Piotrowska and Kate Pennington – Wilson in partnership with Polish Expats Association. Post – Industrial Revolution is supported by the National Lottery through Arts Council England and Birmingham City Council.

For more information about the project visit our blog http://www.postindustrialrevolution.blogspot.com/

About the residency

Three artists from each country will be selected to take part in the exchange and invited to respond to the industrial heritage of these districts. We are currently seeking submissions from Polish artists (resident in Poland) to take part in the first strand of this project. The three applicants from Poland will be offered a 1 month residency (15 of January 2011 – 15 of February 2011) in Birmingham. This Residency will culminate in a two week exhibition within the studio/ project space of the Lombard Method. A series of events including a workshop, artist talk and screening will be developed to accompany the exhibition. The Gdansk element of this exchange will take place in May 2011.

We particularly welcome applications from early career artists with an interest in develop site specific works.

Post – Industrial Revolution offers:

Accommodation for 1 month in Birmingham
Flight costs
Expenses @ £400 per person for 1 month
£350 towards Material costs for each artist to develop new art works (please note this amount will need to include the hire costs of any equipment required)
Use of the project spaces at the Lombard Method
An organized Group critique developed through the Lombard Method offering artists feedback and critical discourse during the residency
The opportunity to take part in an exhibition internationally
The opportunity to develop relationships with members of the Lombard Method, other art organizations and artists based in Birmingham

The chosen artist will be expected to:

Develop research focusing on the history and social context of Birmingham including visiting museums, galleries, archives etc.
Produce site responsive work, reflecting the changing nature of Digbeth and its historical context which will be displayed during the final exhibition. Work must be new and consist of any media (installation, performance, video, photography, painting, sculpture, etc.).
Take part in an artist talk during the residency period, (offering insight into each artists individual practice). This will take the form of an open discussion between artists and curators.
Engage in artistic and curatorial dialog with the curators and the Lombard Method team in the development of their ideas and activities
Engage with local communities during their stay and take advantage of opportunities for critical and artistic discourse and exchange of ideas

To apply for this residency you must be:

at the early stage of your career
A Polish citizen or resident in Poland for 3 years or more

To apply please send

Your reasons for applying (no more than one side of A4)
Project proposal with an example budget of up to £350 for developing new work – doesn't have to be realized during the residency (no more then one side of A4)
Your CV
Examples of previous work (A selection of photographs, or other documentation of your work. A CD of images is also acceptable. Please do not send original artwork).
A completed equal opportunities monitoring form (you can find it here).

Please send applications via email to postindustrial.revolution@gmail.com

or via post to Roma Piotrowska, Flat 3, 14 York Rd, B16 9JB, Birmingham, UK.

Deadline for receipt of applications: Wednesday, the 1^st of December 2010. We will notify successful applicants between 15 and 20 of December 2010. It is anticipated that successful applicants will arrive in Birmingham during the 3^rd week of January 2011.

For an informal discussion prior to submitting an application contact Roma Piotrowska or Kate Pennington-Wilson via email postindustrial.revolution@gmail.com

Please note: Proposals should be sent preferably in English, but we also accept applications in Polish.

POST – INDUSTRIAL REVOLUTION OGLASZA NABÓR KANDYDATOW NA REZYDENCJĘ ARTYSTYCZNĄ W BIRMINGHAM W WIELKIEJ BRYTANII. TERMIN NADSYLANIA ZGLOSZEŃ: 1 GRUDNIA 2010

2010-10-16T13:38:00.000-07:00

wersja angielska
O PROJEKCIE

Post Industrial Revolution jest wymianą artystyczną pomiędzy Polską i Wielką Brytanią, skupiającą się na dwóch miastach: Gdańsku i Birmingham, a w szczególności na dwóch obszarach tych miast– Stoczni Gdańskiej oraz dzielnicy Digbeth. Podobieństwa miedzy Birmingham i Gdańskiem są znaczące. Oba miasta, w którymś momencie historii, musiały zmierzyć się z upadkiem wielkich zakładów przemysłowych. W wyniku tego i Birmingham i Gdansk dysponują obecnie imponującymi przestrzeniami poprzemysłowymi, które mają być wkrótce przekształcone w nowoczesne centra obu miast. Post – Industrial Revolution jest pretekstem do wyprodukowania prac w stosunku do historii i uwarunkowań społeczno – politycznych owych miejsc, oraz podejmujących problemy związane ze zmianą ich przeznaczenia.

Projekt jest organizowany we współpracy z the Lombard Method (Birmingham) i z Instytutem Sztuki Wyspa (Gdansk). Producentami projektu są kuratorki Roma Piotrowska i Kate Pennington – Wilson oraz Polish Expats Association. Post – Industrial Revolution jest dofinansowany przez National Lottery poprzez Arts Council England oraz Birmingham City Council.

Aby dowiedzieć się więcej zajrzyj do naszego bloga:

http://www.postindustrialrevolution.blogspot.com/

O REZYDENCJI

Trzech artystów z każdego kraju zostanie wybranych aby wziąć udział w wymianie artystycznej i zostanie zaproszonych do wyprodukowania pracy odnoszącej się do przemysłowej spuścizny dzielnicy Digbeth oraz Stoczni Gdanskiej. Obecnie czekamy na zgłoszenia artystów z Polski ( lub rezydentów w Polsce) którzy chcieliby przyjechać na rezydencję do Birmingham. Trzem zwycięzcom zostanie zaproponowany miesięczny pobyt twórczy (od 15 stycznia 2011 do 15 lutego 2011) w Birmingham. Rezydencja zostanie zakończona, trwającą dwa tygodnie, wystawą w studio/przestrzeni projektowej the Lombard Method. Wystawie będą towarzyszyć warsztaty, spotkanie z artystami i pokaz filmów. Artyści z Wielkiej Brytanii przyjadą do Gdańska w maju 2011.

Poszukujemy artystów będących na początku kariery artystycznej, którzy interesują/zajmują się sztuką odnoszącą się do specyfiki miejsca.

Post – Industrial Revolution w ramach rezydencji artystycznej oferuje:

Zakwaterowanie przez 1 miesiąc w Birmingham
Pokrycie kosztów przelotu
Pokrycie kosztów pobytu w Birmingham przez 1 miesiąc w wysokości £400 na osobę
Pokrycie kosztu materiałów do wyprodukowania nowej pracy artystycznej w wysokości do £350 na osobę (w tę sumę należy wliczyć potencjalny wynajem sprzętu, taki jak rzutniki, głośniki etc.)
Możliwość korzystania ze studia the Lombard Method
Konsultacje z artystami the Lombard Method i kuratorkami mające na celu analizę krytyczną realizowanego projektu
Możliwość wzięcia udziału w międzynarodowej wystawie
Możliwość nawiązania zawodowych kontaktów z członkami the Lombard Method oraz innymi organizacjami artystycznymi w Birmingham

Wybrani artyści będą zobowiązani do:

Przeprowadzenia researchu dotyczącego historycznego i społecznego kontekstu Digbeth oraz Birmingham, włączając w to odwiedzenie muzeów, galerii, archiwów etc.
Wyprodukowania pracy artystycznej odnoszącej się do specyfiki miejsca, odzwierciedlającej zmieniający się charakter dzielnicy Digbeth i jej historyczny kontekst. Praca musi być nowa i może być wykonana w dowolnym medium (instalacja, performance, video, fotografia, malarstwo, rzeźba, etc.). Zostanie ona pokazana na finalizującej rezydencję wystawie.
Wzięcia udziału w “spotkaniu z artystami”, które zostanie zorganizowane podczas trwania rezydencji i będzie miało formę luźnej dyskusji pomiędzy kuratorkami i artystami (spotkanie ma na celu przedstawienie praktyk artystycznych każdego z artystów).
Zaangażowania się w dialog pomiędzy kuratorami oraz członkami the Lombard Method w celu rozwinięcia idei powstającej pracy artystycznej
Zainteresowania lokalnymi społecznościami i wykorzystywania możliwości do krytyczno – artystycznej analizy projektu oraz wymiany idei i myśli

Aby aplikować na tę rezydencję musisz:

Być na początku kariery artystycznej
Być obywatelem Polski lub rezydentem w Polsce przez co najmniej 3 lata

Aby aplikować należy wysłać:

List motywacyjny wyjaśniający dlaczego aplikujesz właśnie na tę rezydencję (nie więcej niż jedna strona A4)
Propozycję projektu z przykładowym budżetem (do £350) na wyprodukowanie pracy – projekt nie musi być zrealizowany podczas rezydencji ( nie więcej niż jedna strona A4)
Twoje CV
Przykłady poprzednich prac (Wybór zdjęć, bądź inna dokumentacja Twoich prac. Może być także CD ze zdjęciami. Prosimy o nie przysyłanie oryginałów prac).
Wypełniony formularz “równych możliwości” (który możesz znaleźć tutaj)

Prosimy przysyłać aplikację e-mailem na adres postindustrial.revolution@gmail.com

lub pocztą na adres Roma Piotrowska, Flat 3, 14 York Rd, B16 9JB, Birmingham, UK.

Termin nadsyłania zgłoszeń upływa w Środę, 1 grudnia 2010. Osoby zaproszone na rezydencję będą powiadomione o zakwalifikowaniu się pomiędzy 15 a 20 grudnia 2010. Oczekuje się, że artyści przyjadą do Birmingham w trzecim tygodniu stycznia 2011.

Jeśli potrzebujesz więcej informacji dotyczących projektu lub na temat nadsyałania zgłoszeń skontaktuj się z Romą Piotrowską lub Kate Pennington-Wilson mejlowo na adres postindustrial.revolution@gmail.com

Uwaga: Aplikacja powinna być napisana po angielsku, ale akceptujemy także te napisane po polsku.

EQUAL OPPORTUNITIES MONITORING FORM

2010-10-16T13:35:00.000-07:00

Please copy and paste this EQUAL OPPORTUNITIES MONITORING FORM into your application.

Prosimy o skopiowanie i wklejenie tego FORMULARZA RÓWNYCH MOŻLIWOŚCI do Twojej aplikacji

EQUAL OPPORTUNITIES MONITORING FORM

CONFIDENTIAL

This information is used solely for monitoring purposes and will be kept in the strictest confidence. You are not obliged to fill in this form, but it will assist us if you do so. Please complete this form and return it with your application for Post-Industrial Revolution residency.

Where did you hear about this opportunity?

Are you?

Female
Male

What is your age?

under 16
16-19 yrs
20-24 yrs
25-34 yrs
35-44 yrs
45-54 yrs
55-64 yrs
65-74 yrs
75+ yrs

How would you describe your ethnic origin?

· White Polish

· Any other White background

· Any other background

· Prefer not to say

Do you have a disability or long standing health condition?

Are you?

Working full time
Working part time
Looking after family/home
Self-employed
Unemployed
Studying
Retried
Prefer not to say

Our venues: The Lombard Method

2010-10-11T13:09:00.000-07:00

Ella Lucas' The Purple Ceiling, 2010

The Lombard Method is an independently run studio and project space based in a former metal works in Digbeth, led by 8 Birmingham based artists. Functioning primarily as a large communal studio with flexible project spaces, the objectives of the group are to develop individual practice through critical dialogue and group interaction, and to engage with other artists through a programme of residencies, exhibitions, and events.

The Lombard Method are:

Rachel Darke, Sarah Farmer, Matt Foster, Matt Geden, Joanne Masding, Adam Smythe, Tim Stock, and Joe Welden.

Project / residency space

All photography herein by either Matt Geden, Tim Stock or Joseph Welden.