Robert Soning appeared on the panel at the 2nd Annual Goldsmiths Conference for Emerging Art Organisers Conference. Here he responds to Iavor Luminov of ALISN who hosted the conference and invited the Londonewcastle chief to attend.
The Goldsmiths / ALISN Conference
Londonewcastle operates from an unusual position - you are a property business, which also supports an art programme. Could you tell us about your motivation for your involvement with art?
We are passionate about art and my business partner and I are collectors and decided to extend this interest. We liked the idea of giving talent a platform and we have always believed in collaboration.
Importantly, we had some great spaces that were lying empty in the right places whilst being brought forward for redevelopment so it made sense to put them to good use rather than keep them under lock and key.
An aspect I find particularly striking about the way you have chosen to design your art programme, is that you are supporting emerging art, rather than becoming involved with established names - what draws you to doing so?
We are quite anarchistic and don’t follow the mass market, so we are not interested in the usual names – the Londonewcastle Project Space is simply not open to them. Essentially, we provide a ‘leg up’ – by providing a large space - which at 3,500 sq.ft is bigger than emerging artists typically get the opportunity to present their work.
We’ve been offered big name shows, but we frequently turn them down. All too often they don’t really want to ‘collaborate’ - and that’s not what we are about.
The Goldsmiths / ALISN Conference
Are there synergies or contrasts between your attitude to art and the way you do business?
There are both similarities and contrasts between our attitude to art and way we do business. We are a design-led boutique property developer – which means we relate to the creative industries and they relate to us. And we only work with people we like, that are passionate and open to collaborate.
The Londonewcastle Art Programme includes work with Catlin Art Prize. Could you tell us about some of the synergies you have found there and why you collaborate?
The Catlin Art Prize is exactly why we set up the programme – they are the ‘vehicle’ and we are the ‘platform’ for new up and coming artistic talent. Justin Hammond, the curator is honest, professional and straight talking and the execution of the show is great – with a lot of attention to detail.
Also now more than ever it is important to do this. In a tough climate our programme is important.
The Goldsmiths / ALISN Conference
Londonewcastle also runs a street art programme, can you tell us about this?
Again, it came out of our love of the genre and fact that graffiti art has evolved into an art form and should be accepted in mainstream art – this happened years ago in Paris and New York – we are years behind! It’s still quite anti-establishment and that appeals.
We saw talented artists being arrested and we wanted to provide a canvas for the next generation of artists – to give our own seal of approval for this authentic art form.
We’ve now worked with some pretty big names including EINE; Shepard Fairey; Pure Evil, Stik, ROA, David Choe, Blek Le Rat, etc BUT crucially it is supported by local artists and crews like TEZ and TEK13.
One of the ways that Londonewcastle supports the arts is by providing exhibition space in Redchurch Street. Are there other benefits, both immediate and long-term, that your programme creates for artists?
The immediate benefit is that artists get to exhibit in the space with total creative freedom. The long term hope is that it will have a positive impact on artists careers by providing a ‘spring board’ through the use of the space.
The discussion topic for the panel is *financial viability and for many emerging organisers finding and paying for suitable exhibition spaces is a serious logistical and financial challenge. Some solve this by working with organisations like yours which are able to offer access to properties. Do you have any advice about the best ways to approach businesses? What are some of the things you look for in an organisation that wishes to work with you?*
Be organised! Write a good proposal fulfilling all of the requirements laid out by the gallery / space provider - clearly communicating what you want to do and why that will be interesting.
Try and lock down some – even minimal – financing to ensure that your show can go ahead and can cover; for example, production and insurance costs. Also, if you need sponsorship, get it sorted before applying for space use – or at least approach potential sponsors before you submit your proposal.
Be flexible on scheduling and realistic about your run; enlist as much help as you can from others and finally, consider how you will run the show – and promote it – on a day to day basis.
You work with artists, curators and organisations. How deeply do you get involved with the realisation of projects?
We supply the platform – success or failure is part of the learning process - it’s all down to the individuals.
How closely do you work with the artists and curators?
We work closely with all exhibitors, BUT we don’t dictate on content.
What are some of the most rewarding projects you have been involved with and what drew you to them?
• Emma Richardson from Band of Skulls solo show of paintings entitled ‘Cruisin’ for a Bruisin’ in Feb 2012 – because we feel she is a real talent.
• Lawrence Watson’s ‘The World is Yours’ photography show in June 2009 – art takes many forms and music is one of them.
• Plus Arts Projects ‘Neon & Vinyl’ in October 2011 – Kerry Ryan is an authentic craftsman – a humble sign maker of Neon’s turned curator and artist.
• ‘150 Voices’ for Providence Row curated by Shiraz Bayjoo – a charity that is close to our hearts dealing with real issues on our streets. And art draws attention to these issues and engages people.
• ‘Hel Yes!’ pop up restaurant and exhibition presented by The Finnish Institute for London Design Festival in September 2010 – explored the theatre of food – again food art fusing with design and music and performance.
• ‘218 Gherkins’ by the pupils of William Davis Primary School for NSPCC’s Childline – showed local children expressing themselves through art and the pride of seeing their pictures on walls in a gallery.
• Chris Moon’s recent breakthrough show ‘Reverie’ in October this year – a young outsider artist who lives in a squat, producing quality oil paintings that are older than his years.
How far is your arts programme philanthropic?
I guess, basically it is, but it makes life interesting – it’s got nothing to do with the money. It’s a project we have chosen – a ‘journey’ on which we have met some interesting, like-minded people. We don’t see it as philanthropy – we view people as equals.
Are there aspects of your arts programme that benefit the property business side of Londonewcastle?
Yes - it provides an opportunity for people to come into contact with Londonewcastle and establish an idea of us as a business – who knows, they could be buying a flat from us next year.
It also increases awareness of Londonewcastle as a creative business and reinforces our reputation as innovators in what most people outside of the industry regard as a pretty dull business.
Is there something that art can do for other property developers and for other businesses?
Not really – other people might play at it, but they frequently get it wrong because they don’t have the knowledge, experience, attitude or contacts to do it properly. Art should not be a ‘pony’ for industry – it IS an industry.
In the charity sector it’s a good way in which to get your message across and raise awareness of your issues.
The Goldsmiths / ALISN Conference
Is there a place for art in business in general?
Yes – now it’s all about the creative industries and collaboration.
How can conversation between art organisers and business be brought about?
It’s down to the art industry to present itself in a way where it can be seen to be beneficial to both sides. It’s about collaboration – we are living in that environment now.
There are an increasing number of businesses which are finding reasons to become involved with and to support emerging art. Collyer Bristow uses their law offices to put on exhibitions of emerging art. Departure Gallery, Art Catlin, Londonewcastle Arts Programme, Artspace Lifespace all use their property-related businesses to support the emerging arts. What do you think is driving this interest amongst businessmen to spend on supporting emerging art?
I think it all stems from an interest in the arts and fostering/ promoting an interest in the arts from an early age.
As a businessman with experience of working with art organisations and curators, you have a unique perspective on the way that we work. Are there any insights you have gained through working with art organisers and is there some advice you can give us as a business professional?
Art is no different from other industries – there are good and bad people. Yes, it can be quite egotistical. My advice is keep your feet on the ground and remember where you came from.
Above all, art’s got to be fun - so enjoy it.
ArtLyst coverage of the event.
The prize is unique in offering a framework for artists to develop a new body of work during the first year out of art school. Each artist receives a bursary to support their progress.
The Catlin Art Prize 2013 finalists are:
- Steven Allan (Royal College of Art)
- Fatma Bucak (Royal College of Art)
- Juno Calypso (London College of Communication)
- Robert Crosse (Slade School of Fine Art)
- Nicky Deeley (Royal College of Art)
- Bee Griffith (Goldsmiths)
- Terry Ryu Kim (Slade School of Fine Art)
- Conall McAteer (Central St Martins)
- David Ogle (Lancaster University).
Previous finalists have gone on to feature in major exhibitions in the UK and internationally. 2013 winner, Julia Vogl has since completed a number of public commissions, including HOME, a multi-coloured public living room constructed in Peckham during the London Olympics. She was recently selected alongside Martin Creed, Gavin Turk, and Jake and Dinos Chapman to take part in Museums at Night 2013. Last year’s recipient of the Visitor Vote, Adeline de Monseignat, has enjoyed a string of London shows and is now represented by Ronchini Gallery.
