This is Tomorrow is a magazine focused around creating a comprehensive archive of contemporary art. Divided by city, medium, and show, the goal is to provide a means for readers to visit exhibitions anywhere in the world.

Consisting of features, reviews, interviews, video content and live events, This is Tomorrow is an invaluable resource for anyone interested in keeping up on the latest in contemporary art.

To get you started, why not check out their review of Jeremy Deller’s exhibition at The Modern Institute here.

Find out more at This is Tomorrow here.

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The RSA Open Exhibition has celebrated contemporary art practice in its Annual Exhibition for over 180 years. Now, as a separate event from the Annual Exhibition, it showcases art from all over the UK featuring the work of nearly 400 artists every year.

The Open Exhibition will run from 29 November – 20 January 2015 and is currently seeking submissions via its new digital submission process. Artists can submit up to two works no larger than 80cm in any one direction (outer frame size) in any medium. Several monetary prizes are available in various categories, including Scottish art and sculpture.

For more information about applying see the RSA website here.

Deadline: 19 October

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Find more opportunities in our weekly bulletin here.

Shard of Light by James Nizam

Learn more about the concepts behind the interventionist works of artist, James Nizam (pictured above) and the humour in Dan Colen’s whoopee cushion installations. Make sure you peruse the interview with Kevin Harman which was developed with Hunted Projects over 5 months across various locations. Also featured are videos which chronicle visits to the artists’ studios.

Daniel Turner – Studio Visit

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For more creative delights we’ve Spotted on the web take a look here.

Innovative textile artist, Nina Falk is from Stockholm but is now based in Edinburgh. Here, she guides us through her work process:

My work often breaks the boundaries between fashion, textiles and art – moving away from the labels that we are often given. This is something that I find really interesting – the labels within art are something that I often come across when I exhibit my work.

Even though I have shown my work at places such at Moscow Museum of Modern Art to New Designers in London I always find myself justifying what I do. Is it art or is it design?

Rend Birth 2011

Rend it 2011

Studying ‘Fashion and Tailoring’ in Stockholm, ‘Textiles’ at Norwich University of the Arts in England, ‘Textiles art’ at Osaka Seikei University Faculty of the Arts in Japan and a Masters in ‘Contemporary Art Theory’ has influenced my work and my process.

I am currently living in Edinburgh where I am running a Contemporary Textile Collective with a group called Kalopsia. Kalopsia brings attention to the field and sees textiles as a distinct artistic practice which opens up the debate on “What is Textiles”. I see Textiles as a social, historical, and cultural artefact and as an instrument to show emotions, experiences and thoughts.

Playing hard to get 2012

Alteration 2012

The way I work and the tools I use, the process and the thinking comes from my past in the ballet. I started dancing when I was three or four years old and I was quickly drawn into the world of ‘perfection’ and the strive to push oneself. You can always be better; be the best! You are brought up thinking ‘what is the point otherwise?’ and without having this mentality, you fail. It wasn’t until I was a teenager, having been a dancer at the Royal Swedish Ballet School and done pliés for, what felt like 100 years, that I realised that it wasn’t for me. I quit a few years later and the only thing that stayed with me was the constant realisation of the pushing – the perfection. I have never found that perfection and I am now moving towards the fragmentations of it. Whatever form my work comes in, it ends up with destruction. The more stains and the more fragmentation I can create, the more satisfied I get. I am a perfectionist, but I know that perfection doesn’t exist.

Alteration – lip 2012

Being diagnosed with MS later came to influence my process and this now has a key impact on my ideas about alterations as it is a constant uncontrollable force, constantly changing my behaviour and my body.

I have tried to capture this in my work and video installations from (Un)Conscious Deformation. The rather painful process of stitching into my own skin is an important aspect. The preparation before penetrating a sewing needle through my skin was filled with adrenaline. I stitched myself in front of a mirror and sometimes with a few people around me. The mirror was there to push me – I saw myself changing and I wanted more – it was very difficult to stop. When was I done? Is there such a thing as a final stitch? When is the time to stop? You always forget the pain and it is difficult to look at yourself in a mirror and say ‘done’. There is always something that you can alter.

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© Stephen Isles

The building will contain exhibition spaces, with dedicated learning and resource spaces. An active programme of events, including talks, screenings and workshops will enable people of all ages to engage with and participate in contemporary art. By creating opportunities for artists based in Leeds and across the north, and showing cutting-edge contemporary art created elsewhere, The Tetley will help raise the city’s profile and to further cultural exchange between Leeds and other cities and places internationally.

Visitor facilities will include a café/bar offering a wide range of World Beers that will be distinctive in the Leeds area, and a range of spaces which are available to hire for private or corporate events, including the beautiful boardroom complete with portraits of former Tetley company chairmen. Visitors will also be able to buy editioned works created specially by artists, and unique items relating to the history of the Tetley company and the building itself.

© Stephen Isles

The Tetley houses a collection of artworks, documents and objects relating to the history of the much-loved Tetley Brewery, founded by Joshua Tetley in 1822. The collection will be available for public viewing and contemporary artists will be invited to create new work in response to it and the post-industrial heritage of the historically significant area. Project Space Leeds will also look after the Tetley archive and the redevelopment will preserve heritage features such as the original boardroom and war memorials in the building.

Associated events such as talks, seminars and education workshops sit alongside the exhibitions programme, engaging diverse audiences and aiming to grow awareness of the contemporary visual arts in Leeds. By working with organisations from outside Leeds, Project Space Leeds aims not only to bring established artists to the city and to provide opportunities for native talent, but also to position Leeds on the national and international radar.

Set to open in Autumn 2013, ‘The Tetley’ will create opportunities for artists based in the city and region to develop and show work that will appeal to a wide range of audiences, and artists will be commissioned to create new work as part of the capital refurbishment.

© Stephen Isles

Founded in 2006, and now a registered charity, Project Space Leeds, led by two of its founding directors, artist-curators Pippa Hale and Kerry Harker, will be at the heart of a creative renaissance along Leeds’ ‘South Bank’. ‘The Tetley’ will also enable the charity to generate income from commercial activity, which will support and broaden the scope of its artistic and education programmes and ensure a strong and sustainable future for the organisation.

“For years in Leeds there has been a gap in provision for contemporary visual art and it is fantastic that, at long last, the city will have its own interpretation of brilliantly inspiring, thriving places such as Glasgow’s Centre for Contemporary Arts and Bristol’s Arnolfini.” Kerry Harker, Director, Project Space Leeds

Developing a family friendly ethos is a key part of the plans for The Tetley. A new green space will be created outside the main entrance with imaginative ‘play facilities’ commissioned from artists and an annual programme of outdoor events.

Details of the exhibitions programme, commissions and events will be announced on the website shortly.

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This week, Ironbbratz Studios takes over Central Station, posting featured work and blogs. This post is about The Telfer Gallery which they support.

The Telfer Gallery opened its doors in Glasgow’s city centre one year ago, exemplifying a wide range of exhibitions and events with a focus on experimentation and cross-disciplinary practice. The diverse nature of The Telfer Gallery’s 2012 programme enabled the committee to explore the potential of the physical space and the wider environment. Within this time, the gallery hosted two residency programmes; one exploring the established modes of arts presentation – questioning the exhibition format itself;  another saw the team assemble an arts collective, Colour Deaf, to produce an alternative experience in visual art and live music through installation art and sonic design. The gallery also produced a number of exhibitions – from sculpture, printmaking and cross-disciplinary collective shows both across the design and fine art sector, and the summertime saw a collaborative project between The Telfer Gallery and Leeds-based initiative Test Space resulting in a series of workshops and an interactive exhibition as part of the Merchant City Festival.

Colour Deaf at The Telfer Gallery, 2011

Now heading into its second year, The Telfer Gallery is about to launch a new programme responsive to the experimental and diverse programme concluded last month. In 2013, the gallery will maintain the diversity of the previous year’s ethos whilst allowing each artist space to focus on the dialogue surrounding the respective body of work and conclusively, enabling the audience to understand the development of work in the gallery situation.

Aesthetic Error by Kel Glaister at The Telfer Gallery, 2012

The Telfer Gallery 2013 programme invites four creative practitioners from across the board of fine art and design to engage our audience in critical dialogue and exhibit beautiful work. We aim to provide a space of production and presentation for these practitioners through engaging with the processes of production unique to each individual. We will provide a platform for focused experimentation within a studio environment and allow time for a productive and critical dialogue to occur organically.

A Billow, a Hunch by Emily Shepherd at The Telfer Gallery, 2012

The Telfer Gallery will launch a new website in correlation with the 2013 programme in February 2013. To join our mailing list, please send an email to gallery@the-telfer.com and be sure to check in with our website, Facebook and Twitter for programme updates, or just to say hello.

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From time to time we feature galleries and spaces that showcase & encourage grassroots artists. Browse through more of our Featured Venues.
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