Urban Dreams 2017 full survey results (anonymous)
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What sector best describes your practiceDo you and your colleagues have sufficient access to physical space to manage, produce, develop and present your work in Wellington?Would you and the artists you work directly with like more opportunities to work in space outside of existing venues in WellingtonIn terms of working in public and new spaces, what sort of assistance would be helpful?What sort of new ways are you (and/or your colleagues) interested in developing in engaging with the public outside existing venues?Would a form of mentoring be of use in developing professional practice working in new kinds of spaces in interaction with the city?Are you interested in working with different communities and property owners in the city? What assistance do you need in making these connections?Are there other ways you can think of we can all make space for new ideas in the city?Further to this do you have any comments in terms of vision for how artists might play a deeper and more visible role in the city?When you think about how you or others might work in the city in more interaction with the community - what possibilities excite you?Any thoughts if any (no matter if you havenäó»t had experience of us) on what Urban Dream Brokerage has offered thus far in Wellington?Anyone else you think would want to be involved in this discussion we might not know?
DanceNot enough - finding affordable space to work from is a regular issue for us.YesAs a starting point, the key form of assistance that I would find helpful is notification of upcoming opportunities and a general understanding of the practicalities of what is/isn't available or possible when working in public and new spaces.

In my experience, the assistance that artists require generally always boils down to the classic trio of time, money, and space. Providing opportunities of time and space for artists is fantastic, however there is often and regrettably no mention or provision of financial support. It is then increasingly hard for professional artists to take up these "opportunities" with integrity when the economic reality is that freelance artists are often encouraged to create work without any fee structure or financial income.

The benefit of art in our communities is real and essential for the vitality of our city and its citizens. Sadly freelance artists, who enhance the culture of our society, are often financially undermined and undervalued. Assistance that would be helpful is that any new arts programs or initiatives supported by the Council consider all the needs (time/space/money) of artists, and offer assistance that equals the benefits the wider community receives through engagement with the arts.

Specifically as a dance artist, the major hindrance to using found or new spaces is the safety of the floor we dance on. The ideal floors for dancers are sprung wooden floors, not concrete or tile, and so there is a specific safety equipment that needs to be considered for dance projects seeking unconventional spaces to work in.
As an emerging artist and art maker I am always on the look out for opportunities to make and present new works. I find it easier, an an independent maker (not affiliated with an institution or company), to contribute work to pre-existing platforms as opposed to creating my own event which I do not have the resources to establish on my own. Events that appeal to me as a freelancer include The Performance Arcade and PARK(ing) Day, which allow artists to contribute their works to pre-existing platforms.

At this current stage in my practice I would be interested in using the Urban Dream Brokerage services to develop and present a new dance or installation work, and also to collaborate with artists from other disciplines to develop performance that is designed to exist outside of current venues.
yesDepending on the project, yes absolutely!

I have no personal or professional connections with property owners and so networking assistance would be very valuable for me as an artist. It would also be interesting to hear from "different communities" about who they are, what they need, or how they want to engage with different artists or art forms, which in my situation is dance. Perhaps initiating dialogue and the sharing of information, opportunities, requests would be valuable for creating better communication between groups and their needs.
It is difficult for artists that rehearsal venues are so expensive to hire. It is a stretch to hire a space for development or workshopping at $20 - $45ph, when freelance work dictates an irregular income.I would really like to see greater collaboration between local and Wellington-based businesses. I do not have a vision for how this collaboration would play out, but there are almost no New Zealand-based corporate responsibility programs that have a focus on engagement and support of the arts. While the financial onus is on governmental funding, philanthropy, and crowd funding, I would be very interested to see how Wellington's businesses can be encouraged to engage with the arts industry. Collaborating together, this partnership would definitely deepen the role of arts to make it a vital part of our city. I am excited by creating works with different people from diverse backgrounds, experiences and abilities. In 2015/2016 I was part of the Rehearsal Direction team for the NZ Arts Festival show 'Le Grand Continental'. This was a 45minute community dance performance, with 150 participants aged between 10 - 74 years old. I work as a professional dancer and this was honestly a career highlight for me. I did not know until this project that such a need for dance existed among people from the Wellington community. The Festival catered for all aspects of the production (venue, technical, production, professional team fees) which made this an attractive and professional community dance event. To be involved in another similar production would be a dream and, I am sure, would be enthusiastically received by Wellington's closet dancers.I have not experienced working with Urban Dream Brokerage myself, but I am familiar with the projects that have been conducted and have enjoyed the variety of art forms, performances and works.

I think that the ethos of giving artists space to work in is fantastic, and that these spaces are usually in unconventional public spaces is great for increasing the profile of arts in Wellington.
Multi-disciplinaryNot enough - finding affordable space to work from is a regular issue for us.YesAccess to rehearsals space and access to presentation spacesWe are currently developing a range of work where the audience and the performance relationship is much more relaxed. We are also interested in making work that is able to access and encourage a much more diverse sector of society.Not sure exactly would depend on who it was withYes definitelyIntersecting the relationship between what the space is being used for and other experiences that people could have with those spaces. Intersection between how performance and performance experiences can benefit and invigorate the corporate and private sector whilst interfacing more freely with the publicA city should be an exciting place to explore. Space plays a constant role in how people relate to it and what vibe they get from it. A city with exciting stuff happening in different spaces allows us to have an enjoyable and continually playful relationship with what our city spaces can do for us and how we are able to meet and connect with people. Discovering new spaces that are opened up for public or artists allows a deepening and a connection to a place. If we have an enjoyable experience in discovering something new we get a huge degree of satisfaction, pleasurable memories are developed and we create a sense of ownership to a place. Simple performance can take on new meaning and depth in new spaces outside of traditional or expensive formats...A place that enables and supports movement, sound and design, beyond the theatre and beyond the spaces that hold art forms in their boxes or categories. Spaces that allow greater collaboration between architecture, socialising and experiencing something awesome. Spaces that encourage development in audience and art form. Spaces that don't gobble resources that could be used more effectively in helping to pay artists and performers. Spaces that enable and encourage art practice.Chris Morely Hall.
Visual ArtsNot enough - finding affordable space to work from is a regular issue for us.YesMore trust and freedom in developing our own ideas. There are not enough spaces or opportunities for process based work, and experimentation. A more open and easier proposal based system. Funding support and / or a system of exchange to help set up new spaces and make them ready for art. Artists work so hard at everything and we can't do it all. There should be a network of exchange like an artist time bank where people can exchange hanging shows / writing / cleaning up / running openings / packaging work / photography ... etc! I want / am developing working with sexual abuse survivors doing creative drawing practice and expression work. Also running queer and trans* drawing classes. I would like to make temporary sculptural space on the street and in public space that operate as sacred spaces for sharing stories and drawing. I think we are missing experimental spaces that are open to everyone, non-commercial, where artists offer exchange and welcome. I am always interested in putting my work on the street because everyone can see it. yesYes. Reliability from the property owner and respect for the value and massive amount of work that the artist is putting in is essential. I don't trust property owners and have had bad experiences being kicked out of a space when I was invited to make drawings there. It felt dreadful and it's really important that artists are protected in these spaces. I think more work needs to be done on the intrinsic value of the work being done creatively, whether it makes the space more rentable or not. I am interested in helping to build platforms for tangata whenua, Pasifika and artists of colour to use / take over our public space. The proposals process is a barrier to many. Engage Pasifika and Tangata Whenua in decision making processes about how space is used. Offer spaces for free without a proposal process and let people do what they will. Offer spaces to Maori and Pasifika leaders t then offer out to their communities. The art world can have very fixed ideas about how space and resources should be shared. We need to learn about having face to face conversations, hui and meetings. At which we welcome and feed people. I believe it is very important that artists consider what is our real job. That we are and can and should be a part of social change. Within capitalism we have to find ways to survive and also ways to make space for our art making, which takes a lot of time. And time equals money. I want artists to be valued and given trust, time and resources to develop those deeper and more visible roles. I have been working hard on projects engaging my LGBTTQI communities and building those relationships and processes through which we can connect through creative practice. I am still figuring out this role and how it can be valued in a society which runs on money. This cannot be avoided - how do I sustain this practice? I want to say something about value of other kinds, and also giving artists what we need to be able to have a deeper and more visible role. Many of us want that. Many of us feel like what we do is not important, or is impossible to keep going. What would it be like to offer public space to artists and materials and just let us do what we want for a while. See what happens. Let the process take over. We have to work so hard to create that space and time to make the magic happen, and then protect it, justify it... I think that many of us feel like nobody cares about it, and that it becomes rather ridiculous. When we are connected to our communities, and being of use to them, this is eased. But there is a need for the art work, art writers, to also acknowledge this work and be interested in it. To value it. Feminist, sex positive, queer and trans* take over of public space. Replacing billboards with real bodies, multiple kinds of gendered bodies. Replacing hipster advertising with hairiness and embodied, difficult bodies. Making sculpture on the street that people can come and shelter in and have a non-capitalist, human exchange. Contact improvisation in public. Huge cuddle parties. Lots more plants and trees everywhere.

Being helped to make connections with communities. Having my work valued and supported across community engagement and the fine art world. Being of use to my communities. Building solidarity through creative practice. Free art schools.

I grew up under Margaret Thatcher. Everything seemed so controlled and impossible. Down the road there was Glastonbury Festival. I went every year since I was 6. Every year a temporary city grew, made by people who came from everywhere. It was anarchic and creative and wild and it made me feel hope. There was a lot of play, and experiment, and strangeness. Everything was cleaned up afterwards, every ring pull and cigarette butt. It was a working farm; everything went back to the land and cows. People can make amazing things with some freedom and space. I still believe in this and witness it every day in my art practice. There is so much more that artists can do than provide work for white spaces that only certain people go into.

This is a piece of writing I made last year about a public project / offer I made:

For Out in the Park 2016, some artist friends and I created a space where stories could be told, shared and given back. We started at 8am, building, adding to and draping a gazebo in a city park where the queer fair would be that day. I wanted to build a temporary space inside which something magical could happen. You never know what is going to happen. You just have to create the space, set the intention, have the right attitude, and then invite people. And dress up. Believe in it.
I believe that art has a role in real life. Ritual, transformation and magikalising the every day. Helping us to find ways to tell our stories. I grew up with festivals, fairs and theatre. At the first Out in the Park there was a queer woman doing palm readings.

Who can help us to tell our stories? Who can help us to keep them safe and birth them into the world? They are too much to always be holding. Our world is impoverished without our stories. And they belong to us. How can they be held, protected; shared and still belong to us? I wanted to try and find a way.
We used bits of painting from my queer wedding äóñ drippy, colourful skins. And pink shower puff fabric, and ties, and a sign above the entrance that said SPEAK. I set up my easel, a seat, and some pastels. I wore my painting jeans that are a talisman, an entrance, a trace of my studio. I wore a sequin top Iäó»ve had for 20 years, and a gold sequin scarf around my head.

I asked people to tell me a story äóñ any queer or trans* story, about surviving, sex, joy, pain. Most people said I donäó»t know what to say, or I donäó»t have a story. I said just tell me the first thing that comes into your head. And as soon as they sat down, out it came. I drew what they told me. I put it on the page, and gave it to them afterwards. Because it belongs to them.

I believe that art has a role in everyday, real life. That we are starving for it. I want to do my job; I want to be useful. I donäó»t want my art to only live on the walls of galleries that only certain people go into or have money to buy from.

Today I did my job as an artist. I created a space, invited people, and trusted what would happen. I made drawings that will go with them to wherever they like. Some people told me they would photocopy them to share them with the other people from school their story involved. Others said Iäó»m gonna frame this and put it on my wall. I believe in art as a form of communication, and I want it to be useful. There are so many things that we cannot say in everyday life. We need a church that is not a church. We need a place that says I hear you; I want so bad to hear you, because everything you say matters. Everything that has happened to you matters, and what do you dream for our world? Everything about your twelve year old self and how you survive the bullying. Everything about your pink hair and the way you do drag as gender clowning. Everything about your secret name and everything you remember and everything you donäó»t.

We need artist priests, matakite, witches, prophets, healers, seers. We need sacred places to hold that which is painful and precious and necessary. We need sacred ground into which it can all sink and be held. We need psychics and feelers and the transformation of art. We donäó»t need any more white art church galleries with white walls and rules about how you can move your body or respond. We need responsive, temporary, open art sacred spaces where you are allowed to be. We need it to matter. We need to be believed.
You have changed the landscape of people using public space and done many good things. I think you need to expand your artists you work with and consider the processes you use to get people involved. I also think you need to protect artists and their projects - as you know I have had some not very good experience with a property owner that made me lose a lot of faith in those processes. I would like to see a more collective and open approach to developing in the future. People from diverse communities are the ones who know what those communities need. How can you partner with community leaders to listen to and learn from them?Kava Club, BOX Oceania, Tiwhanawhana, Elisabeth Kerikeri, Anahera Gildea, Jack Trolove, Jac Lynch, Creek Waddington, Mari North, Conor Twyford, Herbee Bartley, Leilani A Visesio
PhotographerMost of the time but there are times we could do with moreYesAdvocacy between the artist and the space. Artists don't always know how to manage the business side of communication and also ownign the value of their work at a higher level.Organising special one off experiences help to bring a unique quality to art.yesNot really at this time. Personally as a photographer I am shooting other peoples hard work around this situation, as a performer however I work on a case by case basis to make things work. I tend to fall short of people I don't know, but the artistsic world connectiona have meant we always find spaces.Utilising spaces with a garden component and a working kitchen can be very valuble. The Council have several spaces that seem to have a lot of red tape.Potentially UDB could do a 6 monthly PI mini fest........it would help get the word out and also give a variety of performers a chance to investigate what it means......with a little speech about what UDB do between sets. Invite the NZ Drama school graduates (or final year) to attend, especially directors, any other new performers within tertiary.Love what you already do. Unused spaces in great parts of the city being used,especially the very inner city along the warterfront.Same answer as aboveI think I've covered it above. Potentially if you wanted to involve music, the MMF could pass this on in a newsletter. There isn't really a centre for figuring out venues, its something you work out yourself along the way. And also UDB will have its own quality control of whom they will advocate for, which is really important to keep the name at a standard of trust in the public arena.

Sorry my answers seem a bit one way and another......I'm a photographer and a musician, but mainly I'm grateful to know theres an organisation that values the gap its providing within the live performance realm.
Multi-disciplinaryMost of the time but there are times we could do with moreYesWe have managed to exhibit in public spaces, as well as find and co-ordinate a number of found spaces for various projects, but assistance making contact with property owners is always appreciated.I'm very interested in art that exists outside the gallery and confronts people in public spaces.Perhaps, would need to know moreDefinitely interested. We're at a point where artists working only with and for other artists is limited in its impact. Broadening our vision to bring various communities and disciplines together for a more rounded exploration of the issues that interest us will undoubtedly yield better results. Often we deal directly with property owners or managers, as negotiating locations contracts in found spaces is a core part of our business, but assistance in knowing which property owners are open to making their property available for such projects would make the process of finding locations to work with easier. Be more inclusive in who gets to create art.Working closely with different groups from industries beyond the arts. Contributing to the creation of a project enables groups to feel a sense of ownership and become invested in a project in a way they wouldn't by simply being a spectator. Involvement can be small, but I believe these cross-disciplinary connections are the key to artists playing a deeper role with our community.Working with different industries: scientists, politicians, economists, medical profession, food & nutrition industry to look at ways in which the arts can respond to and communicate issues that exist across our society. Encouraging discussion around issues, engaging communities who feel strongly about issues to speak and aiding in making them heard. The purpose of art is to shine a light and tell a truth that exists; if we as artists can find the truths from all areas of our community and help magnify them, bring them out for discussion, we can broaden our reach and the impact we can make.Raising the profile of arts projects in found-spaces, making it easier for these connections to be made, creating a support system for both property owners and artists in forming and maintaining these relationships.Binge Culture, Barbarian Productions, The Performance Arcade, Everybody Cool Lives Here, Miranda Manisiadis
TheatreNot enough - finding affordable space to work from is a regular issue for us.YesAffordable/free spaces that could start to build a new relationship between the arts and the wider publicThe possibilities are pretty endless - although we often don't have sufficient resources to envision and then execute them all. We want to build new performance work to fit new contexts/needs for the public. This includes our recent shows that are more 'interactive parties' and also new ways of engaging the public that we haven't foreseen/dreamed of. Some practical ways this could happen: public rehearsals that look to create work with members of the wider community; new forms/purposes for work - creating events that fill certain needs (birthday celebrations/weddings/funerals/etc.) and attempting to offer alternative and performative ways of working through occasions; spaces where public feel safe in articulating their own questions about life/their own stories/their relationship to live performance and the arts and what they'd like that to look like... responsive spaces that blur the line between further between 'community' and 'professional' arts...; finally more parties/celebrations/explosive chaotic events that clearly meet an audience and aren't designed to 'be good for them' or 'teach them' or 'expose something' or some other righteous/arrogant/polemic motivation that convinces them of something.yesyes & loads... don't have time to go into specifics here - it's all dependent on the needs of specific projects.yes...get with the public more - stop thinking our work is so important and crucial and needs to be patronised when there's so little evidence that we are willing to adjust to what the culture/context is of where we live and the needs of the wider publicThe arts ACTUALLY becoming a relevant part of even a percentage of the wider publics livesit's been so long since I've experienced anything that I feel I can't really say... but it seems like most projects/works I experience (and many that I've done) have some grand vision of how they work and inevitably fail at delivering that... but more importantly fail at realising the massive failure or then admitting the failure and using it to adjust the vision/purpose to actually react to the givens and make it more successful... a huge part of this is resource (I know): we're all too busy chasing little scraps and trying to do 'too much' for 'not enough'... but we're still on the line to adjust in some way and the art works mostly feel very isolated and insular from the community...yes
Visual ArtsYes its adequateYesConnections on the ground are so vital especially working within and alongside specific communities who are experiencing the effects of gentrification.Collaborative work where community participants have the opportunity to be active in shaping the final outcome.yesTime, funds/resources and mostly trust. Embrace impermanence and consider mobile/portable solutions.Probably but not right now. Half the time it's convincing the public that it's a good idea and to trust the artist/sEverything! The unknown possibilities. The risk, the potential failures successes and learnings. Love you guys. Keep up the great work.You know tonnes of people and I bet they're already on your mailing list.
Visual ArtsYes its adequateYesConnections on the ground are so vital especially working within and alongside specific communities who are experiencing the effects of gentrification.Collaborative work where community participants have the opportunity to be active in shaping the final outcome.yesTime, funds/resources and mostly trust. Embrace impermanence and consider mobile/portable solutions.Probably but not right now. Half the time it's convincing the public that it's a good idea and to trust the artist/sEverything! The unknown possibilities. The risk, the potential failures successes and learnings. Love you guys. Keep up the great work.You know tonnes of people and I bet they're already on your mailing list.
Multi-disciplinaryMost of the time but there are times we could do with moreYeswell known database of curators and installersunknownyesCommunity muralist - ellencoup.com,
Community coordinator -silvermosaics.com
TheatreNot enough - finding affordable space to work from is a regular issue for us.YesA website with listings of available spacesFusing forms and making bigger vision work, eg. warehouse spaces where you can be loudnoI've been able to make those connections independently in the past, but it would be useful to not have to start from scratch each time. That's why I think a website listing potentially available spaces would be useful.We need more resource and flexibility to do what we wantBeing able to do bigger shows that won't fit in traditional venues.I haven't been able to use UDB as my shows haven't had an installation element to them that the public can see during the day. I think that this really limits the kind of work that UDB supports. I have been able to find commercial space on my own and present work with no fees or needing to apply to anyone, so I can't see myself needing to use UDB in the future.
Multi-disciplinaryYes its adequateYesGreater support for low rental gallery and retail spaces that can then afford to take risks regarding what they offer the public.I look to zine forums: shops/stockists, libraries, zinefests, workshop spaces. I also look to performance spaces and wish there were more spaces where experimental sound was encouraged outside of occasional Pyramid Club gigs and rare gallery forays. yesI prefer to use what's already available as the infrastructure and support offered by others lets me get on with the business of making art. At this juncture I don't have the capacity to have to set spaces up myself, but this could change. Current spaces seem to be for one-off projects or exhibitions that last for weeks/months. It would be great to see fixed spaces for itinerant works in film, video, sound, performance, discussion...NoBigger audiences / mainstream crossoverYou guys seem indefatigable in your ability to pop up/prop up festivals and public sculpture / social sculpture / relational art projects. You seem very engaged in conversations that connect artists to other communities outside of the small art scene.The Pyramid Club people: Daniel Beban and Nell Thomas.
MUSIC / SOUND !!! (why no category?)Over the past 8 years myself and a small, loose collective of musicians have ensured that artists working in the field of experimental music have a physical space to create and present work (Fred's and Pyramid Club). Without these initiatives, the answer to the question would probably be 'Not Enough'. Through our own work and the work of many volunteers we have ensured there is an adequate venue in Wellington for the presentation of experimental music and sound art and a creative working space for some artists.We work across many venues in Wellington (bars, clubs, established music venues, galleries ....), we run our own venue and often use found spaces to present work. There seems to be enough venues. But I think the venues that exist, especially non-commercial spaces, need to be better resourced and funded.For one-off events, help with permissions for use of the space, equipment, financial assistance, promotions. For an ongoing venue, help with the ongoing costs of running the space and producing events.We have produced quite a few events in found spaces over the years. These tend to be chosen for their interesting location and/or acoustics and are usually produced in a DIY way, without funding or the endorsement of the council. That's part of the fun I guess, but it runs the risk of running foul of the authorities. It would be good to be able to run a series of events in various locations around the city with some financial/logistical support from WCC or other bodies. I know WCC are onto this in some form at the moment through public events in the inner city. This is a good start. I think these kind of events work best when the artists have more-or-less total control of content of the events.noYes, we are always interested in making connections with different communities in Wellington. Unsure what assistance we'd need, just a reason for making a connection, which would usually involve some kind of music making.Not right now but I'm sure there's lots tucked away that'll come to me soon.I feel that WCC likes to brand itself as a 'creative city' more as a lubricant for the business sector than actually acknowledging and sustaining the work of the majority of artists that live here. If Wellington is going to use its artists as a PR tool, then I think the city should respect these artists more and endeavour to provide them with resources and opportunities to encourage the long-term survival of arts in the city. I would hope however that the city's artists aren't just looked at as a good marketing opportunity, but were actively engaged in making decisions about public spaces, public events, etc. On another note - some of the bigger institutions (City Gallery etc) could do better at engaging with the local scene. One of the great things about running a venue is seeing the different communities that come along to different shows, and being surprised by new faces turning up. Over the last couple of years we have attempted to make connections with some of Wellington's migrant communities, and to encourage for those communities to present concerts at Pyramid Club. A concert of Persian music last year was an example of a real, positive interaction between a community of fairly recent migrants and the community of an independent arts space. I would love to be able to instigate more events like this.Unfortunately I haven't really been involved in anything, but the things I hear about sound very worthwhile.Mark Williams (you probably know him), Kerry Ann Lee (you probably know her too).
TheatreIt was an issue, until we got Te Hauk�inga which has helped with limited affordable good quality rehearsal space for over 20 years.Yes and No! It all depends on the project we are developing and what is the best place to house the show. Recently that has been theatre, but if an idea differed it could go to other spaces and places.Wifi that is reliable and affordable is always useful. Free access to the space without having to fill onerous traffic mannagement requirements that are making the art harder to create.Focus is on venues for the next 2.5 years as part of our Taki Rua strategy.Depends on the mentor and whether they were well linked to understading your process of taking the work into news sites.Building that within our Hauk�inga residence as a primary focus for the next 2-3 years.Prepare to partner up together with allies and resource share to help make new spaces more viable for people to create their work within.Encourage artists to be bold and creative within our citybounds, and resource them more financially, so that they can really commit to telling their stories, and sharing their love of the city, and ne less stressed on just surviving. We can't dream effectively if just there for survival.Seeing our Hauk�inga space grow to full capapcity and then the companies sharing the space will organically create more opprotunites by the community groups they connect with to host workshops and fono and training developmentsI haven't had any experience with UDB, so feel cannot commentWould Paora who manages Toi P��neke be good for this discussion
Music/mainly PercussionYes its adequateYesHire 'Ssendam Rawkustra' (mental health group/band) for events/conferences or similar occasionssee abovenoVery interested (property owners??) and I need a liaison person to make those connections. Most creative people are too busy or too bad re.promoMini-festivals, practitioner visiting each other to arrange collaborations pop up events in malls, waterfront and other public spacessee aboveNot sure about your impact, but glad you exist !! :O)
Visual ArtsMost of the time but there are times we could do with moreYesHelp negotiating with council and property managersI work in an existing space, so would personally be interested in offsite projects that engage public space in interesting ways rather than temporary gallery-style exhibition space etc.yesYes, sometimes. I think introductions would be helpful and artists often struggle to build relationships with property managers directly.More pop up spaces for younger artists would be good, as would more funds/grants directed towards developing emerging practice as young inexperienced artists often struggle to get funding for the first time, need a foot in the door with WCC and CNZGiving artists access to more resources is a good startDepends who 'the community' is - partnerships with certain groups could be helpful in broadening audiences and making sure 'community' work represents/is in dialogue/sensitive to with the particular community in question
Visual ArtsNot enough - finding affordable space to work from is a regular issue for us.YesSuggested spaces to approach, liability insurance, managing the brokering side, statistics on current/previous use of space (how and numbers), relationships / connections to people who could assist in a refit.Multiple locations, Performance between (parading) locations, guerrilla gardening, workshops, window performance.yesYes. I would ask you or them directly for assistance when required.Artists consulted by council / property developers on how to better use and develop new public spaceTaking art to the community. Using space in new and refreshing ways. Physically changing the spaces regularly so your morning walk to work changes too. More interactive activities in public space.Great concept, some projects inevitably have seemed more successful than others but it's exciting to see space used in differing ways
Visual ArtsNot enough - finding affordable space to work from is a regular issue for us.YesA peppercorn rent for a year, a room with a bar nearby or possibility for an improvised bar...because the true dialogue starts after question time..not too big not too small, maybe 40-60 people capacity, enough to have an event but not be stressed out by it, an event with 20 people is cool if they're in the right room...i want the city arts team to acknowledge that artists are being driven out of the city and make a policy decision that Wgtn is a place where art is made as well as consumed; hence they will make available a series of council owned spaces for cheap rental and negotiate longer term leases if we the community can propose a programmedon;t quite understand the questionunsurei always think of letting space for public programmes but then think 'but what if it's not available in 6 months?' So WCC need to invest in real estate for artists and let LS admin perhaps...it really is a time of student artists and young artists being forced out by rising rents. my intern has just left for chch - who wants to stand in a line with 20 other groups for a mangy flat??? So a charitable trust like us loses staff also. WCC must step up and acknowledge we are in the midst of an economic crisis that will drive artists, arts agencies and youth out of Wgtnfinding communities outside of the art worldits good! its great! it;s just that sense of planning months out and then thinking '...but what if the property is rented by then...'Eve Armstrong
Visual ArtsYes its adequateYesFunding managementWe're open to engaging with the public anywhere indoors or out. Preferably in areas with high exposure to the public of all ages and ethnic origins.yesYes definitely keen to work with different communities. Maybe some mentoring assistance/advice to continue thinking outside of the square/box.I'm constantly doing this myselfBy taking the art to the people in new and inventive ways.Visual/sound media that promotes conversation around particular subjects i.e. the environment.Another voice and way of thinking differently about how people engage with art.
Visual ArtsMost of the time but there are times we could do with moreYesopportunities for mid-career artists. open studio space or project space, could include giving back to community or younger people/students e.g. public talk, programmes.temporary exhibition spaces, with visibility to general pubic.
Venues for workshops, sharing knowledge and skills, mentoring, e.g. an event space for creative community.
yesyes. Assistance from an agency who understands how that infrastructure, regulations, legal blah etc, would be essential but need to be open or catering to a range of artistic outcomes.use more empty space around town, wellington seems to have heaps (indoor and outdoor). temporary projects (sculpture garden, open studios, short term residency space for locals with community engagement). We would like to shortcut getting more art in peoples lives, visible to a general audience. Wouldn't it be great to pair up artist from different stages of their careers to work on something together or a curator and a artist. At Tory Street Studio we have been working closely with the council and our neighbours to reinvent our block of Tory St since being cordoned off after the earthquake. We are thinking about our place in the city and our sense of belonging and finding ways to contribute from the very earliest stages of planning. We see potential for this process to be used again in other sites, e.g. a group of artist could be put together to come up with ideas for bring life and/or art into a disused space.Something like a community project where a range of people (refugee community, children, neighbourhood group) co-produced a pubic art work together.Our impression is the the focus has been very much on situations to facilitate audience participation with a political agenda rather than open to a range of strategies.
TheatreNot enough - finding affordable space to work from is a regular issue for us.YesRehearsal space and office space. We can never find any that is affordable for us to use.My company does not make a vast amount of work outside of traditional spaces, but I love seeing the work thta UDB are doing - the democratisation of engagement with content that we see in the internet is actualised IRLyesThis is certainly of interest. Some kidn of framing or 'match-making' service between artists and communities.We need to re-connect with audiences. People are no longer so committed to attending at commercial venues. People want to engage wiht work in public spaces (and for free).UDB has helped bring artists into unique relationships with communites and businesses.
Multi-disciplinaryYes its adequateYesperformance spaces, and short-term spaces I could use for light construction and assembly of large scale artworks (1-2 weeks)In the water, and on the sides of buildings.yesIntroductions mainly. I can provide a tiny amount of Kudos, but I can't pay much. But I can make spaces very funky and desirable with my work, as demonstrated by many recent commissions by city councils.I would like rooftop access to some buildings in the central city to continue projecting onto clouds. Because this is very weather dependent, not many of existing projection attempts have worked (perhaps 4-5 days in a month will have appropriate conditions). A long-form project of projecting from rooftops would be really interesting.I think there's a lot of space for pop-up and temporary spaces, which add such excitement and character to the city. Apart from everything else, audiences love exploring. If you take them somewhere new, they're delighted.finding somewhere new. new spaces are really exciting.You do great work, but I'm much more interested in the exterior spaces of buildings at night, and working on these in light would be interesting to negotiate.
Visual ArtsNot enough - finding affordable space to work from is a regular issue for us.YesProbably more permanent but fluid spaces. Spaces that aren't always under threat of being shut down/moved around (although the pop up spaces serve a purpose of their own). More open studio spaces that can accommodate artists working in a range of mediums/at a range of different levels where principles of partnership/collaboration/tuakana-teina can be practised.I am particularly interested in spaces that I can introduce students to. I have found that bringing students into previously existing spaces (the Old McDonalds space, Toi WÛ�hine, Toi TÛ�ne etc) has been invaluable to their learning. It has offered them an opportunity to see and participate in a large shift in their own community, which has had immeasurable and ongoing effects for them. I can speak more about this if necessary.yesA straightforward process to connect artists and landlords/property owners. A link I guess between the two, like that which Urban Dream Brokerage provided/provides. A yellow pages of community/open studio spaces (this may already exist) for those looking to connect with others.Not sure if this is relevant here, but I'd love to see more street art in Porirua/Wellington. Utilising the incredible local artists we have at hand. Less "controlled" street art (Chorus boxes lol) and more freedom/open street space. As above. More open street art spaces. More money made available for young street artists. More open events for performing artists.More opportunities for youth/upcoming artists.The extent of the ongoing positive effects of your work is immeasurable. I have seen many many people transformed through the work carried out in Porirua City alone. There has been a dramatic shift in the city and community thinking which has been amazing to witness and be a part of.
Visual ArtsMost of the time but there are times we could do with moreYesAssistance with permissions and communications with councils, businesses etc. Processes and procedures can be daunting and seemingly impossible - especially when you are working as an individual or small group with little to no institutional backing.Creating art installations and interventions outside of institutions - in public spaces (e.g. parks, suburban areas, malls, etc.). The hope is to bring a sincere engagement with contemporary art in the everyday lives of a wide range of New Zealanders.yesYes. Knowing who to approach and what the restrictions/costs would be for property owners and myself. I think the main issue would be knowing what was out there, who was out there, and an introduction (support from a trusted party)I would like to see more short term, open spaces for artists in Wellington - especially for younger artists (recent graduates, still studying, emerging artists). The Mason's street screen facilitated by Circuit and the WCC and the light boxes on Courtenay Place are both great spaces and seeing more spaces like this would be fantastic. Some more opportunities for temporary sculptural interventions supported by the council would be ideal. I would like to see the council working actively with a range of artists when working on public projects (community centres, public space development, etc) involving the extended arts from the beginning in projects.Personally, I really enjoy working with different groups on workshops - sharing my experience of art with a range of different people. We all get something out of it.

My role as a public programmes officer, at The New Zealand Portrait Gallery, has introduced me to a range of groups with differing abilities (blind foundation, Aphasia NZ, as well as many school groups with different interests) who I work with on tours and activities. This has been an enriching and exciting relationship for both sides. Providing opportunities like this for artists who are not connected with specific institutions would be fantastic, connecting artists and 'the viewer' in a personal way is helpful for all sides (and so much fun).

I have found UBD to be helpful (never having worked directly with them myself but having experienced many of the projects they have facilitated). I really enjoy the focus on experiences that directly engage and work with the public.
LiteratureMost of the time but there are times we could do with moreYeswe want a moveable, pop-up venue! Like a container venueas aboveyesYes - need person connected to help connect..Possible to get a group of landlords together in a working group to explain needs of arts and how they can help? so they're invested in the outcomes of use of their propertyCentral hub for producers to workNeed to keep producers in Wellington, for Wellington-made events - need more support with this - exciting to imagine a space where producers can work/network/share resourcesFound at times that it's difficult to make full use because seems that landlords aren't that keen
Visual ArtsMost of the time but there are times we could do with moreYesBrokering spaceWorkshops and re-presentations of artworks in challenging site responsive waysnoYes- I will be undertaking a project in Nelson later this year. Is there an equivalent udb there?Not right nowThe arts benefit from inclusiveness and working outside traditional frameworks.Being surprised and surrounded by more art. More artists getting an opportunity to experiment with ideas and audiences.
Multi-disciplinaryNot enough - finding affordable space to work from is a regular issue for us.YesAlmost any space is useful for our events. The hardest for us to find are spaces that accommodate 300+ and we can license... Previously we've only found fixed commercial venues, eg. the Paramount lobby, and are now moving similar events to San Fran as that's closing... not sure what other options there are... Something like the space above Arty Bees could be good - we approached them and they said "3k per night...".We currently running site specific outdoor events in Polhill Reserve and the Waterfront. We use many non-commercial spaces that aren't typically venues. This generally makes things more interesting and cheaper overall...Not sure I fully understand the question... :)Yes... the difficulty we have is that we generally need to promote our events 6+ weeks out, and we haven't been able to secure such UDB spaces with that amount of time to spare.Collectively lobby council to provide more space?We just need more money so we don't have to spend all our time doing admin and can focus on the bigger picture (eg. making creative arts events).I try to keep our focus quiet narrow and work on a limited number of projects (eg. keep the head down and not try to look at too many possibilities, other than what we're working on, which already feels mountainous and exciting enough!)It's a great initiative!I think you know them already!
Multi-disciplinaryNot enough - finding affordable space to work from is a regular issue for us.YesDatabases of available spaces and assistance in securing permission to use them. Paying for the spaces might be useful, in that they authorise the user to more rights and reliability with use of space - but negotiating discount where possible.New would be nice - but even conventional relationships/venues are thin on the ground, so the preoccupation with being novel/innovative/new becomes a bit of a burden for some artists who simply cannot present their work because there is no space for it. You know about The Performance Arcade, and you probably know that this event caters for a gap in the way that art is programmed and presented in the city - that many artists are not catered for by the theatres and galleries that operate. Aside from this example I am hoping to develop new projects that animate the cityscape with performance narratives. But they are still secret plans.Yes, for new artists.Yes I am, but as an artist I end up being an administrator, facilitator, and negotiator, so need support with these elements so I can focus on my work - which engages communities anyway.Funding. Spaces for experimentation that are not too onerous financially or too demanding in terms of paperwork / admin.Artists could play a deeper and more visible role, but they need to be given opportunities and spaces without so many strings attached. Too much prescription of what art should do / achieve / embody imposes results-oriented culture and assumes that the commissioner knows what the arts should be like. Art is more revolutionary than that.Envisaging a city where 'the community' implies a creative body of citizens, that doesn't imply a democratisation of the art work, but a more rigorous culture of challenge, engagement, and critique between all participants.Unlocking potential between vacant spaces and placeless practices.
Multi-disciplinaryMost of the time but there are times we could do with moreYesSupport for doing works in public areas such as parks and on the streets and public billboardsI have worked with UDB and they are brilliant. There have been times in the past I wished that UDB that wasn't tied to buildings, as many of my works are out of doors. Outside works also revitalise areas, and serve many of the functions that UDB aims to achieve. I have wished in the past I could access the support of UDB feedback, support, and promotion however because some of my works were not in a building it seemed they didn't fit the brief. This may have changed in recent years so sorry if I'm not up to the play. So, in general, I would be keen if UDB would extend its support (and possible curatorial support?) to outdoor public artworks.yesI would like to work with construction companies to be able to do large poster installations on their barriers around construction areas - both downtown and in the outer suburbs.I think the need for UDB / Letting Space is more urgent than ever. Because we now live our lives on-line, we are all part of fractured audiences and our common civic conversation is on the brink of disappearing. That is not to say we don't have conversations - we have lots - we are just speaking to like minded people in our own bubbles. Facilitating conversations across those who have different opinions and life experiences has got to happen if we want to avoid fracturing of our society. (Just look at the USA and the international rise in populism - we need to talk to each other!)

And the conversation cannot just be urban ;-) I would love to have a rural / urban conversation, perhaps this could be done in the Wellington region between farmers in the Wairaprapa and people in Wellington.
There is an election happening this year and very few people are talking about it. I have been thinking about apathy - political apathy and other kinds too - and wondering why more artists are not making a visible presence, talking about the issues that matter. If we want citizens to engage we need to educate them about the complexities of urban problems.

Then we need to unleash the utopian vision.

Why not start with kids? I'm thinking school holiday workshops with kids that teach them about the really difficult issues that face our city. For example, in the first week, immerse them in every angle of issues of waste and recycling, and land development. In the second week, let them workshop and make art about ideas in urban development moving forward and let them share and talk about these ideas with staff who work in these areas. Could be done in concert with Capital E.

Urban Dream Brokerage continues to be brilliant. Your communications are an important backbone to your operation and have always been perfectly pitched.
High school students - many are very socially engaged. Short term youth run initiatives in shopfronts near the school would initiate the kids in civic and cultural participation. Wellington High would be fertile ground!

I am currently taking an art course at Massey and I have been surprised by the disconnect of younger art students from the amazing arts scene in Wellington. Few of my fellow students would be aware of what is going on in the city or with organisations such as UDB. Meanwhile, many of them are making art about the city and its streetscapes. There is a lot of potential here to involve art and design students. I suppose getting the lecturers on board would be key.

Bravo to your entire team for all you do. I can attest from my conversations with friends and other artists over the years, you have been a godsend to the sector. Thank you for your energy and your vision! We are so lucky to have you!!
DanceNot enough - finding affordable space to work from is a regular issue for us.YesKnow what spaces could be used for an activation project or one off performancesOpen to ideas but need some structure or guidelines to help dance artists develop work for site specific spaces. Thinking outside the box is ok but not everyone can do it well and some need guidance.yesI think we need to develop a pool of dance artists who can respond. It takes a different way of working to work with different communities and property owners. Plus having financial support to do a project. It all takes time and effort, so you need to identify those who wish to develop their practice in this way. WCC could offer funding for projects that happen throughout the year by developing a specific programme that supports this kind of activity and way of working. Funding drives behaviour. Connecting spaces with people and the public as an audience. The city needs to value new ideas and new ways of presenting art, not just via Wellington Venues or only thinking of audience development in terms of ticket sales. There needs to be more visible platforms to create momentum and lift the profile of what artists are doing. Regularity and consistency is the best way to support growth. Currently I don't think the arts are well connected with each other in Wellington. An annual facilitated gathering for artists could be a way of creating a focus and generating dialogue across art forms and organisations. Could partner with Arts Wellington to co-host it. DANZ would be keen to support.Tapping into a different creative energy, expanding what's possible, bring fresh ideas to the table, taking work into different locations and communities, expanding peoples arts experiences and understanding, creating good vibes and creating something new. Using different spaces for art creation and presentation, challenging the status quo, providing an outlet for creative expression. Richard @ Arts Access Aotearoa
Visual ArtsNot enough - finding affordable space to work from is a regular issue for us.YesAssistance with finding the appropriate space assistance and advice with where to apply for funding for the spaceI am looking to start a Maori Pasifika and First Nations indigenous art space design store and artists workshops, I would look to staging events and public programs such as lectures, artist workshops, artist residencies etcyesYes UDB has been great so far perhaps the Wellington City Council could facilitate another optionTake art to the people through public spaces and community centers mates and schoolsMore artist engagement with council and business more artist run spacesPublic art events festivals workshops more visible local artI think UDB is doing a great job and I have been wanting to start a project with you for sometimeYou might talk to high school and tertiary art students to see what creative solutions they may have
Visual ArtsYes its adequateYesTransparency with appropriate parties, (such as WCC, Urban Dream and Letting Space) about regulations restricting access to public spaces or private spaces. These parties aiding contact with real estate agents if necessary As co-founder and facilitator of MEANWHILE Artist Run Initiative (Level 2, 99 Willis Street) we seek to utilise our website as a site/space, to combat limitations of the physical. Also having selected a variety of off sites projects to be included in our 2017 year programyesYes, I feel capable of making these connections myself through other established galleries, but would like the opportunity to further my network/reach through meetings with other forms of established spaces, (theater, music and vacant venues for example)Encouraging young practitioners (not only those who have completed a degree in a specialised creative field) to contribute to this discussion, also more small pools of funding available for community spaces (such as 17 Tory and Thistle Hall)-The broadening of accessible projects outside of the larger annually funded programsI first heard of Urban Dream through a friend at Art School two years ago, everyone on campus was very excited to hear of a project which supported creative projects off campus (specifically in relation to our off-site exhibitions), giving us a sense of possibility and assistance Jesse Bowling
Multi-disciplinaryWe have adequate office space, rehearsal space and storage. What we dont have is access to affordable large scale venues e.g.. the Opera House. NoOnly financial supportInteractive installations and performancesnoFor us the issue is in accessing large spaces which are already there eg. theSt James or opera House. Because they are run by PWV, they become very difficult to access, financially and also with management . We are doing a version of Grand Opening for example in Auckland and working with that venue is so much easier because it is managed by the Auckland Live team, rather than contracted to some other party who have little sympathy towards the arts. Artists are the life and soul of the city, yet there is no infrastructure for them to develop their companies. There needs to be support for them to be sustainable businesses, like there is support for start up tech companies. Then they will keep doing their amazing work but will also contribute more because then can feed their families and still be artists. It's been great what UDb have offered in terms of modelling projects and supporting artists into spaces.
Visual ArtsMost of the time but there are times we could do with moreYesA bricks and mortar venue such as Artspace in Auckland that helps emerging, mid career and senior artists to develop and present projects. Funded and curated, a touchstone for contemporary arts in Wellington. We are missing this - Enjoy works very hard but cannot address all the needs in Wellington (and throughout NZ) with their small staff, budget and space.We are interested, especially in terms of attending events in public space such as Flux, The Performance Arcade etc. I'm more of a gallery artist that needs the infrastructure and support that an institution has to offer. yes, mentoring in general for artists, not just around how they use of occupy spaceyes, but the fit needs to be right. Advertising is a big issue and getting the community along is paramount. General assistance in terms of access, cleanliness, funding and support. I don't make work that is inherently interactive, or relational, so feel like the support for this is limited in a "Letting Space" context and I would be adapting my practice to suit, rather than the other way around. yes, working with the major festivals such as NZ festival, and more involvement with Fringe etc. (especially getting them on board with Visual Art) would be a good move.By encouraging all modes of practice and cross pollination, thinking about the timing of events and getting everyone on the same page to stop clashes and sharing of the same audience on the same nights. More investment from festivals and larger organisations in the local. Shame that CGW have stopped supporting locals as much as they used to through their general programming and loss of Hirschfeld and Dean Galleries specifically for local and Maori/Pasifika.For example there is a Massey Exhibition paper, and it could be encouraged within council and other orgs to help with processes for these students to mount exhibitions and get the word out. It could be as popular as the open studios in Whanganui.I think it's great - but as an artist I would prefer to be a part of a Letting Space project - with budget, curatorial assistance, more publicity, council support etc etc. I think stretching to the other art forms like theatre is a good move for UDB to make spaces more active for shorter periods of time, with good involvement from specific groups to properly use the space and present high quality work. A focus on emerging can help as there is potentially more energy from younger artists. Visual Artists need more permanent/semi permanent spaces to have good impact at a range of career levels.
Visual ArtsNot enough - finding affordable space to work from is a regular issue for us.YesReal support in terms of accessing funding and logistics around producing and prolonging artworks or activations.

Support in producing HIGH QUALITY art works.
Real viable activations that can either capture sustainable funding or critical acclaim. Or more funding to be able to realise international standard and quality work.yesWe want sustained support by patrons that are willing to provide genuine patronage by way of space without caveats on its use other than treating it with respect and returning it to the state in which it was received.Publicly funded spaces which afford full autonomy. Toi Poneke is a fantastic example of the more formal model that could be adapted. 19 Tory St etc. There should be no need for Artist-run spaces because they should already be being pioneered and funded by the Universities, Council and Government. We shouldn't have a single artist leaving art school without access to space to develop and show work.Council should be hiring artists for the urban development team. Events like Flux should be being funded and initiated by council as organisations with full autonomy to re-invigorate the wellington community and the cities vision as the creative capital of New Zealand. There should be events like WOW in every category of the arts as well as integration with the community as far as events like Newtown Festival. There is no incentive for artists and creatives to initiate and realise these projects.Kids, Schools. Maori and Pacifica communities are doing some of the best work in this area. There are no other clear communities. It is exactly what is missing in Wellington. The CBD is a sparse and individualistic place once you take out the hospitality community and the music/night venue community.I think it was initially effective and seemingly integral in its role in supporting artists with limited access to space and resources. People that were willing to be resourceful because they had nothing or had seen progressive low-fi community projects making a difference elsewhere.

I believe it no longer engages with/supports the community that initially provided its validity and support. I think it relies on fringe artists, but as it only supports fringe artists it is hard to maintain its validity and any kind of quality. I think the Theatre/performance community are where the brokerage has offered significant contributions to the city, although I think that to have a real critical impact the spaces need to be filled for longer periods of time or with more significant projects. The reach to extended communities is too limited.
TheatreNot enough - finding affordable space to work from is a regular issue for us.YesVenue liaison, liability insurance, space management, funding to cover venue hireUsing spaces that have historic or cultural connotations that would enhance site-specific projects. Also making theatre in unexpected places that take it out of conventional venues to allow different types/styles of engagement.yesYes. A sort of 'match-making' service would be most useful, in which someone matched projects and communities/property owners based on interest and needs.Forums or open conversations where people who have less connections can meet other artists and/or pitch ideas and gain collaborators. This could also work with matching venues with artists by having a sort of 'pitch evening'. Additionally, offering feedback and/or mentoring artists through application processes for unconventional venues might be helpful.I think artists have a unique capacity for encouraging engagement of many types in urban environments, particularly when their art is prominently on display in public places.Working with urban dwellers to encourage them to re-examine how they engage with the city and how they relate to it.I think that Urban Dream Brokerage has facilitated a lot of great projects in Wellington. I would encourage UDB to go deeper to understanding the needs of the communities of artists with which they work, to make sure that their agreements between building owners and artists work with the needs of the artists.
Visual ArtsMost of the time but there are times we could do with moreYesHelp with the base idea - some feedback initially, then help with finding locations and property owners, funding applications, communications, marketing, health and safety issues, marketing - there is always so much involved with these types of projects - any help is always needed or appreciated. I'm interested in site-specific projects potentially in spaces out of the CBD. But nothing fixed t this stage.yesYes I am. The type of help I generally need depends hugely on the project, but often support and a good word from an organisation like yourself goes a long way. Not at this stageNot at this stageI really enjoy how the Urban Dream projects just pop up in the city and how anyone can happen across them. I like this kind of subtle city intervention.You have probably approached them all
Multi-disciplinaryI have tried several times to connect with and present work with and for letting space... with minimal successmaybeI have found bureaucracy to be a major impediment to open art with and for the people... employ artists to run things will be a good way forwardthis sounds like trawling for income soz
I'd love to do moreFinding a place within and or alongside the greening of the cityscape infrastructure would be useful for me... a place for the likes of me... conceptual, environmental, political art without permission sort of a chapan artists run space and or biennial. an artists colony and or symposium on Sommes Island, A city that actively promotes its artists and collects art and art history... currently no wellington city council based organisation has any history of the Vacant lot of cabbages!!! FFS an obligatory role and voice for art, an artist within the infrastructure of council... like an art laureat... You need a method to credit ideas like these formally, respectfully vs anonymously yep
TheatreNot enough - finding affordable space to work from is a regular issue for us.Yesfor presentation - it would be creating public awareness, for rehearsal/workshopping it would just be finding a place where we would have some freedom, old people's cinema a good example. For both just finding and making those spaces available is a massive helpinterested in creating a working space that we can inhabit and only be open to public sometimes when we have something to show. More of a workshop space that can also be a venue/industry social space. The emphasis is on development but for audiences it can be exciting too, because the space will be totally inhabited and curated by artists with a shared vision - so it's an opportunity to get deep into that vibe. Very different from a purely presentation space like BATS, which has to be all things to all people. yesNo idea where to startopening up existing spaces - give over to artists to say what they need, how they would like it to be. Empower them with resources rather than hording them for their own ill-conceived initiatives (toi poneke classic example of 'artist space' designed by bureaucrats). trying to build BLAG into a group that can represent all independents - it's a work in progressperformance and artists working in spaces that the wider community feel they have ownership over, rather than feeling like a visitor to.some great, if relatively short lived, artist run spaces with amazing vibes
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