URGENT: Threat to Glasgow arts infrastructure

>Subject: Fwd: Tramway
>Date: Thu, 18 Sep 03 14:33:46 +0100
>From: Malcolm Dickson <[email protected]>
>To: "Ambit" <[email protected]>
>
>
>Dear All,
>
>Sorry if you have already received this news but its importance
>necessitates as many relevant people being infomed as possible.
>
>In the last two weeks, Glasgow City Council has announced to its
>staff at Tramway that, pending the outcome of a capital lottery
>application to the Scottish Arts Council, Scottish Ballet will
>relocate its entire operation into the Tramway and Tramway 2, the
>unique large scale exhibition space, will close in order to provide
>Scottish Ballet with a rehearsal studio/workshop space.
>
>Needless to say there is a high level of concern being expressed not
>only from the Visual Arts community but also from performance
>companies who have used the exhibition space for large scale
>performance works.
>
>We need to gather together as many people nationally and
>internationally as we can who will, when the moment comes, write to
>Glasgow City Council, Scottish Arts Council, Scottish Ballet and the
>Scottish and UK press. I would be grateful if you could identify
>and/or contact people to let them know of this development and let
>the following people know who they are:
>
>toby webster [email protected]
>Francis McKee [email protected]
>and myself [email protected]
>
>I have attached a briefing document and chronology of Tramway
>exhibitions since 1990 to give you an idea of what would be lost.
>
>Many thanks
>
>Seona Reid
>
> Tramway 2 Briefing paper
>
>Proposal
>
>Glasgow City Council is proposing that Tramway 2, the unique large
>scale exhibition space on the ground floor, is given to Scottish
>Ballet on a permanent basis as a rehearsal studio. Scottish Ballet
>will move its entire operation into Tramway and a capital lottery
>application is being submitted to the Scottish Arts Council for an
>October deadline to support the conversion of disused Tramway
>stables into office and other accommodation for the Company. The
>current performance activity in Tramway 1 and the workshop activity
>in the stables will continue unchanged. Only the visual arts space
>is proposed for this fundamental change of purpose. The Tramway
>staff were informed of this last week.
>
>There has been no consultation about this and the proposal is at
>odds with Glasgow City Council1&#8260;4s own visual arts strategy published
>in January 2001 which was the subject of consultation. That document
>identifies the future of Tramway as part of a ?citywide contemporary
>art strategy for emerging, mid-career and established artists3&#8260;4 That
>document goes on to describe Tramway in the following terms:
>
>?The unique scale and architecture of Tramway allows for exhibitions
>of work which could not be shown in, or created specifically for,
>any other venue in Scotland and the UK3&#8260;4
>
>Tramway, although suffering recently from a lack of financial
>commitment from Glasgow City Council, remains one of the most
>important visual arts spaces in the UK and recognised to be so by
>major artists and curators across the world. It is the biggest
>visual arts space outside London and one of few in the UK where
>artists can make international careers. To close it would
>fundamentally diminish the City as an international centre for the
>visual arts and at a time when Glasgow's visual arts community is
>acknowledged to be so dynamic and successful. Glasgow is
>acknowledged to be one of the most important cities in Europe for
>the production of art and Tramway is an essential and irreplaceable
>element within that visual arts ecology.
>
>Scottish Ballet is aScottish Opera/ Scottish Ballet1&#8260;4 ? legally one
>company with one board. The Chief Executive is Christopher Barron
>and the Ballet Director is Ashley Page. Ashley Page has been
>appointed to regenerate the ballet company after a period of decline
>in artistic standards and has re-shaped the Company over the last
>year during which time the company has not performed. It makes its
>debut performance at Tramway 1 on October 2, 2003.
>Arguments Against What is Proposed
>
>Summary:
>
>O Glasgow (and Scotland) has an international reputation of the
>highest order for contemporary visual arts.
>O Tramway 2 is a key part of the visual arts ecology- does not only
>exhibit but also commissions.
>O It is the only space in Scotland where both locally based and
>international artists can work on a monumental scale.
>O It has launched careers of major Scottish based artists now
>working internationally and has brought international artists to
>Scottish audiences
>O It attracts international curators to work in Glasgow
>O It attracts major press and media coverage which enhances
>Glasgow1&#8260;4s reputation as a cultural and creative city.
>O Since Tramway's re-launch in June 2000, the venue has presented 13
>major exhibitions presenting the work of over 100 artists of
>international standing. These exhibitions have often shown work by
>artists who have not exhibited previously in the UK and, in many
>cases, have presented new work which was specifically produced for
>exhibition at Tramway.
>O Tramway is unique and irreplaceable. A dance rehearsal space just
>needs to be large, warm and with a sprung wooden floor ? it could be
>anywhere.
>
>
>
>Highlights of the programme at Tramway between 1990 and 1999 when
>Tramway underwent capital development with an SAC Capital Lottery
>grant:
>
> Andy Goldsworthy Snowballs in Summer
> David Mach Here to Stay
> Bruce McLean Vertical Balcony
> Temperamenti Contemporary Art from Northern Italy
> New North New Art from the North of Britain
> Tony Cragg Solo show
> Read My Lips New York Aids Polemic
> Douglas Gordon 24 Hour Psycho
> Alfredo Jaar (un)framed
>Christian Boltanski Lost Property
>Christine Borland From Life
>Julian Opie Imagine you are Walking
>Trust International show including Marina Abramovitch and Ulay,
>Maria Eichorn, Willy Doherty, Stan Douglas etc
>Stephanie Smith
>and Edward Stewart Solo Show
>Alan Sekula Fish Story
>Jason Bowman Untitled (The Diary of Anne Frank)
>Yoshiko Kamikura Interior/After Shooting
>Marina Abramovitch Performances 1976-1988
>
>Highlights of the international programme at Tramway since re- launch in
2000:
>
>The group exhibition Mirror's Edge - Tramway was the only UK venue for the
>Show and the only venue in Scotland that was able to house a wide
>range of work (including large scale sculptural work, installations
>and projections) by 27
>leading international artists. The show was curated by Okwui Enwezor: an
>international curator responsible for Documenta in 2002 (major art event
>in Kassel every 2 years). This exhibition brought new work, some
>produced at Tramway specifically for the space, by leading international
>artists such as Thomas Hirschhorn, Steve McQueen and Thomas Demand.
>
>Exhibition with Pierre Huyghe and Philippe Parreno: these
>French artists had not shown in the UK outside London until this 2000
>exhibition. A new work was produced. Both artists are amongst the most
>critically acclaimed artists of their generation: in 2001, for example,
>Huyghe represented France at the Venice Biennale
>
>Only Scottish showing of 336 Pek - amazing video work by Portuguese artist
>Joao Penalva - again, represented Portugal at 2001 Biennale - shows
worldwide.
>
>The solo exhibition of Swiss artist Pipilotti Rist in 2001 included
>a commission for
>new work for Tramway 2. This was the artist1&#8260;4s first solo exhibition
>in the UK for several years.
>
>?When I first approached her gallery in Zurich I was told that she
>receives on average up to 50 invitations for shows worldwide a week
>- she agreed to do this exhibition as she knew of Tramway's
>reputation and wanted to work in the space.3&#8260;4 Alexia Holt
>
>Greyscale/CMYK: group show profiling work of artists from the Nordic
>countries - 40 artists showing in Tramway 2 within an architecture
>designed specifically for the space by international architectural
>company
>
>Cave, by the Finnish artist Salla Tykka in 2002/2003. Tramway commissioned
>The third and final film in a trilogy of works, the first of which was
>internationally praised following exhibition at the Venice Biennale in 2001
>
>Tramway's 'international pulling power' extends beyond the artists.
>It has been able to attract leading international curators to
>produce shows for Tramway - Enwezor, Andrew Renton and Ami Barak -
>Ami Barak is organising a major show with 30 international artists
>for April 2004; he currently works as the man responsible for
>contemporary art projects in Paris. He agreed to do this show as,
>for him, Tramway is a 'mythical space' . When such individuals visit
>Tramway they also make contacts here, see the work produced by
>Glasgow artists etc.
>
>Tramway plays a vital role in terms of international exchange
>
>Highlights of work by Scottish artists at Tramway 2- launching
>international careers:
>
>The programme has also focused on the presentation of work by emerging,
>young Scottish artists which is shown in an international context.
>By positioning
>such work in an international context, the profile of these artists is
raised,
>dialogue with artists from other cultures and backgrounds is facilitated
and
>the international quality of work by local artists is highlighted.
>
>Since June 2000,over 50 Scottish artists have shown at Tramway. Many
>artists were offered commissions to produce new work. Both the
>Project Room Gallery and Tramway 2 are used for these shows. The
>importance of many of these commissions to the future careers of the
>artists cannot be underestimated : it is widely acknowledged that 24
>Hour Psycho consolidated Douglas Gordon's practice to date and
>presented his work on an ambitious platform - it was his first solo
>show and a launch pad for a future international career. Christine
>Borland, Jackie Donachie, Roddy Buchanan all had their first solo
>shows here. In this vein, recent Exhibitions in Tramway 2 such as
>HK, by Joanne Tatham and Tom O'Sullivan, and a solo Show with Martin
>Boyce, have served a similar function. HK led to a solo show at
>Cubitt Gallery in London and participation in Zenomap at this year's
>Venice Biennale; Martin's exhibition at Tramway is about to be shown
>at the Lyon Biennale.
>
>Tramway is currently the only venue in Glasgow that has consistently
offered
>commissions for the production of new work to artists as a key element of
>its artistic policy.
>
>Partnership with Glasgow School of Art, is also unmatched: it stages
>the MFA Degree Show; offers commissions to recent graduates of both
>BA and MFA courses; works with the School of Fine Art on the
>development and realisation of the GFT Friday Morning lectures;
>provides studio and residency space to post-graduate students.
>
>Tramway is the only venue in Glasgow to offer residencies to artists (over
>the summer months): this year, 4 artists - one from new York - were given 3
>months in Stable 3.
>
>Performing space
>
>Tramway 2 was conceived as a flexible, public space and is used not only
for
>visual arts but also for large-scale performances which could not be housed
>within Tramway 1. These have included over the years the following
companies:
>
>Brithgof
>Cone Gatherers/Test Department
>La Fura dels Baus
>Fierce/Motionhouse
>Boilerhouse
>Stewart Laing
>Grace Surman
>Positive Profile
>Arguments may be presented about the role of T2 not being realised
>and about its low attendance figures. The international quality of
>the visual arts programme speaks for itself, but the standing which
>Tramway has in the eyes of the UK and international press and media
>is also a major ingredient in promoting Glasgow as a creative city:
>
>The visual arts programme has maintained a high level of exposure in
>key national, UK national and international press. Salla Tykka's
>show was given a double page spread in the Guardian tabloid this
>year (notoriously difficult to get the reviewer out of London).
>Tramway exhibitions are covered in all the major art periodicals
>and have received consistently excellent reviews. In a recent
>article in the Herald, on the arrival of the Fruitmarket's new
>Director, it was noted that although the Fruitmarket was perceived
>traditionally by some to be a 'jewel in the crown' of Scotland's
>visual arts venues, it was in fact, Tramway and DCA that fulfilled
>this role in terms of international work and quality of exhibitions.
>Given the significant difference in the levels of funding and
>staffing between DCA and Tramway, it is remarkable that this status
>has been maintained. The current budget for visual arts programming
>is only