Buddleia has invited four artists to come and spend time in Cheetham Hill to look around the area and start to formulate some ideas based on their time spent there.
Over the course of the project Buddleia will also be inviting other artists and practitioners to spend time in Cheetham Hill sometimes leading on workshops or delivering talks or events.
The selected artists are:
Can Altay (Istanbul, Turkey), Neville Gabie (Bristol, England) Alison Kershaw (Manchester, England) Jai Redman (Manchester, England)
The artists were selected as their practises are based in engaging with people and places in some way.
Having visited Cheetham Hill and spending a day walking around the area all were really inspired by the potential of developing a project about the place.
The initial piece of research by the artists over the next four months is about spending time in the area, meeting people and developing a proposal, these ideas will be presented at the end of June, the end of the first phase for this project. With the proposals Buddleia will look to seek further funding or co-commissioners to realise the projects.
Can Altay lives and works in Istanbul, Turkey, his work deals with how people use urban space through social encounters and spatial interactions. He uses multi-disciplinary based projects to investigate the daily life of urban dwellers, specifically focussing on how ordinary routines and social trends can subvert and reinvent urban space.
Jai, is one of the founding artists of Ultimate Holding Company a Manchester based art and design studio. They began developing the concept of the ‘open city’ in 2005 as an artist-driven re-imagining of urban space. UHC often use activist methods as they scrutinize public and private space and tease out the under-laying political agendas.
Most of their projects contain an element of the outdoors, they are particularly focused on engaging non-gallery going audiences by utilizing underused or undiscovered space. They are interested in connecting the rural with the urban, turning streets into classrooms, providing free food and challenging commercial domination of space considered ‘public’.
“My central concern is in working responsively to specific locations or situations. Those sites are not arbitrary or randomly selected, but fit together, being places in a state of physical or social flux. The nature of locations I chose to work in demands flexibility. Working in a range of media from sculpture to film and photography, projects are usually developed over a sustained period of involvement and often a significant part of my practice involves working collaboratively.”
Alison Kershaw’s public art interventions are connected with physical location, personal connections and social context. Valuing the seemingly ignored and examining the apparently unimportant are often considered. The forms the work takes range from video, objects, site related installations, curatorial projects and the development of new organisations or structures working with both professional and non-professional artists.