The relationship between BAC, artists and their work

This is a description of different ways in which we work with artists in terms of presentation, development or co-producing work. We have put it together after reading Gemma Paintin’s great blog about the relationship between artists and venues - you can find Gemma’s blog HERE >>

Hopefully by sharing the way that we work with artists we will make a small contribution to opening up the debate and the information available to artists, as well as opening up conversations between venues about ways we might work more effectively together and provide a better connected series of opportunities for artists.

Underlying the BAC offer to artists that we describe below are a set of  principles: that relate to our mission to create new theatre; to promote independent artists; to help artists plot and realise their ambitions; to offer audiences a great experience; and to find ways of enabling BAC to improve its support for artists. In other words, the arrangements described below are only one side of the story. Our values are another side of the story. These have led to programmes like The Independents which we have run for the last couple of years. The programme has sought to connect independent practitioners across the UK to establish networks and encourage potentially isolated artists to be stronger together. We are also interested in trying to address what we see as some of the inherent problems of making theatre as an independent artist in London. We are aware of the limitations of what we offer and we’re always looking at ways to improve this, including lobbying the Arts Council to better support independent artists through programmes at BAC and elsewhere.

View our offers / arrangements in terms of presenting and developing work HERE >>

A failure of Imagination?

In the first of her series of three blogs, Sarah Preece, Executive Director at BAC and founder of Making Space, shares the value of combining her current role as Executive Director of Battersea Arts Centre with making sculpture and muses on why the futures market matters.

I am a sculptor and I work part time from my studio on Eel Pie Island in Twickenham.  I am not a visual arts graduate, choosing instead, after a two-year foundation course, to train as a furniture maker.  I didn’t return to investigate my interest in sculpture until seven years ago, when in the face of a potential life of unrelated, full-time work, I made the decision to eek out a day a week to make art.  That day a week has now become three days a week and while it is true to say I do not earn my living from my artwork, I am now making, showing and selling on a regular basis.

For the other part of my life I am an arts manager having worked in administration and management roles in arts organisations for the past sixteen years. For two of those years I was General Manager of the Gate Theatre in Notting Hill, a company with a £300k annual turnover and a staff team of five, followed by seven years as Finance Director of the Royal Court Theatre overseeing a company of fifty with a turnover of £4m.  I am now Executive Director at Battersea Arts Centre in South London.

Read the rest of the blog entry >>

Being vulnerable

This writing begins with a story. And then goes on to be quite practical. I am interested in how being vulnerable can help us create better frameworks in which to develop new theatre and new ideas.

It is April 2008. The man driving speaks Portuguese. My co-passenger speaks French. I speak English. There is no conversation. We are hurtling through the streets of São Paulo. The twilight flickers across the city as we set off from Jardim Paulista, whirling past the beautiful MASP, and winding through the twisting streets of Bela Vista. I imagine myself in a foreign film. I have only been in Brazil for 24 hours, it is my first time, I am unbelievably excited and a little apprehensive. My co-passenger and I have been put in a taxi by someone from the British Council. They are sending us to “a cultural experience that we will not forget”.

DOWNLOAD THE FULL ARTICLE HERE >>

BAC's 30th Birthday

This spring, we celebrate our 30th birthday with two events that reflect the wide role that we have played in ‘inventing the future’ of British theatre during the last three decades. Kneehigh’s award-winning production The Red Shoes returns, as does our ONE-ON-ONE Festival.

We are also looking to raise money for our new Artist Bedrooms. We will work with artists to create six new one-on-one performances for the ONE-ON-ONE Festival each set inside a new bedroom space specifically designed and created for the festival. After the festival is finished the bedrooms will provide a legacy for our building and enable artists to live and work here.

Read more about our history and our plans

A special 30th Birthday Party will take place on 24th March from 7pm, hosted by BAC patron Dame Vivienne Westwood, to raise funds for the Artist Bedrooms. The evening will include a performance of The Red Shoes - find out more & book.

If you can't come to the Birthday Party but want to help us raise money for artist bedrooms, then sponsor a bedroom.

Set of pillows and cases £30
Bed, bedding, books and bookshelf £30
Bedroom with plumbing and evervthing £3000

Cheques can be made payable to BAC and posted to David Jubb and David Micklem, BAC, Lavender Hill, London, SW11 5TN

Thursday:

After a hard couple days, I've become very good at falling.

I can now just about stand, and walk and run and climb. I'm still working on the dancing. I've been looking at birds watching them flap their wings. I've been watching the planes fly over out of the window.

This my plane. My dad made it...



Thanks dad.

Beth Nesbitt, Artist in Residence
Twitter: @beth_nesbitt

See Beth's previous post below for more details on her residency at BAC.

Tuesday:

Flying isn't as easy as I thought. I've spent most of my day falling...

I've been learning to stand, learning to walk, to run, to climb, to dance. Although im not very good at the dancing.

'He who would learn to fly one day must first learn to stand and walk and run and climb and dance; one cannot fly into flying' Friedrich Nietzsche

I'm no dancer, or  gymnast, or acrobat. So far I have still fallen. I've realised why I want to fly so much - because I'm scared of falling. But maybe falling is ok. Maybe falling is part the flying?

There is still hope yet.

Beth Nesbitt, Artist in Residence
Twitter: @beth_nesbitt

See Beth's previous post below for more details on her residency at BAC.