Arnolfini What's Right Presentation Nov 2016

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Arnolfini 1975 the first entrant to the Harbourside regeneration initiative pioneering the idea that Contemporary Arts could be a force for change and renewal for re-generating urban culture & local economies.

Previously a dilapidated quarter, bereft of industry and attractions, Bristols floating harbour became a thriving cultural centre, a rebirth widely recognised as having been catalysed by the arrival of Arnolfini. Capturing the convivial yet laidback atmosphere of its waterfront site, Arnolfini has helped foster the citys reputation for serious creativity.

Arnolfini the first entrant to the Harbourside regeneration imitative pioneering the idea that Contemporary Arts could be a force for change and renewal.. 2

A model was born and copied many times over

Tate Liverpool 1988

Tate Modern 2000

Baltic 2002

White cube 2011

Arnolfini 1975

Sydney MCA 1991

Founded in 1961Leading since 1971Breaking ground in 1975 Expanded in 1973Arnolfini at the epicentre of the birth of Interdisciplinary Contemporary Arts in the UK .a force for freethinking and experimentation the first and arguably the most influential outside London.



Artist in Residence Cleo LaneInspiring each future generation to succeed

Helen: The ground work and research we have undertaken which helps makes the case for our proposed Sonia Boyce show.SoniaCleo Lake



For over 55 years Arnolfini has presented new and major work by international artists with a current average of 500,000 visitors annually.In the last 3 months 40,000 visitors have viewed our recent presentation of John Akomfrahs highly acclaimed Vertigo Sea 210,000 unique visitors online and 38,000 followers across Social Media64% of our audience visitors to the building came from Bristol, 29% visitors from rest of U.K. (of which the largest group were from London) and 7% from overseas9% of our audience are familiesWe currently work with six core secondary schools and saw 3,500 pupils in gallery visits and tours in 2015/16 (with the generous support of a 3 year funding programme with DAC Beachcroft)Our current audience is 74% white British, 16% white other and 8% BME55% are 20-39 years old (well above national averages for a cultural museum and gallery venue in the UK)

A brief overview of Arnofinis scope and reach6

#inspiredbybristol#inspiredbybristolMoving Beyond Being A Force For Urban Regeneration

Pursuing our Vision for Creative Citizenship

Kate Summary (1.5 min) We see that creativity needs to be active at the heart of societys wellbeing, prosperity, public engagement and participation right the way from pre-school, through educational and into lifelong learning stages - and that is inclusive and egalitarian, based on talent and commitment not privilege or reinforcing the existing hegemony. A model which democratises citizen engagement and participation in Arts and Culture based on contextual factors that deliver key impacts in both social and economic levels through greater inclusion, access and participation for the talented many not just the lucky few. We believe this chimes with needs of the public and it is certainly true of a city like Bristol.Ultimately, we envision becoming a Public Arts Organisation which is owned by the People of Bristol for the People of Bristol; a new ground-breaking contemporary arts organisation in a city of culture whose citizens can participate freely and porously with skin in the game and hands on the mechanisms of their leading arts centre to shape, define and enjoy the richest quality of art and innovation - freely and inclusively. It is a bold idea but one we feel is in keeping with the pioneering reputation of Arnolfini.Yes, we need to continue to break ground with the quality of the artists vision - but we do also need to make sure it relevant and inclusive for all and not just in spirit but also in practice.[Handover to Helen]7

Creating the Spaces for the New and inspiring future generations

Richard Long 2015Primary Capital Partnership 2016

Helen:Some of the work that Arnolfini undertake that is less well known. Schools, PCP, YA, audience stats (young / female) which demonstrate our direction of travel


Adapting to the new post-industrial challenges and opportunities of the 21st Century.

Whilst re-generation of our cities gets to the point of saturationthere are other bigger issues which question the sustainability of what we have created: environmentally, societally, economically, resource-wise, ethically. 9

The facts of life in a changing worldThe last 6 years have see cuts in central government funding to Arts of 27%In the past 3 years Local Authorities in England have cut 200M in Arts related fundingBristol City Council provide the least amount of support funding to arts & culture of any major city in England & Wales The deregulation of lottery funding has resulted in new lottery opportunities for most charitable sectors except for the arts which is not designated as a good cause in the current regulatory frameworkThe past 12 years of Department of Education policy in curriculum has seen Arts relegated to being mostly an optional luxury for schools with huge emphasis being placed on STEM (Science Engineering Technology & Maths)

Since the financial crisis of 2007-2008, the economic landscape has shifted dramatically with Arts being a nett loser in the current climate..11

Yet.Bristol is now widely regarding as the No1 city in the UK to study, live and work in (Sunday Times Best Places to Live in Britain)The No1 reason visitors from the UK and overseas come to Bristol is for the cultural experience (Destination Bristol)The Creative Industries are the fastest growing industry sector in UK*1 in 12 jobs in the UK are in the Creative Economy*Bristol and Bath are recognised by NESTA as two of nine hot spots for creative industries outside of London (NESTA, Creative clusters and innovation report)The Bristol & Bath Tech sector is the fast growing European Tech hub in Europe (outside London) (UCL, The top ten UK cities to launch a start-up, 2016 )The Creative Industries create 0.66 billion GVA currently*A quarter of the arts and culture industrys supply chain is accounted for by the creative industries*The arts and culture industry in the UK is indirectly a significant source of support for jobs in the commercial creative industries+The publicly supported arts is an important source of diverse talent and experience to the creative industries+ Arts & Culture charities invest in education and community outreach that nurtures tomorrows creative talent and consumers+

* Department Culture Media & Sport, Creative Industries Economic Estimates, January 2015+ The Creative Industries Federation, The C Report, 2015-2016

Its hard to deny the huge contribution that Arts and Culture bring to most modern cities but Bristol is especially fortunate in having such a vibrant cultural ecology. But one that shouldnt be taken for granted.12

Cultural ImpactArtistic ImpactEconomic ImpactSocial Impact

Arnolfini Audience & Impact MapCurrent Impact footprint 15/16Projected Impact footprint 16/18


The Field of OpportunityMany businesses see Social Impact and Social Investment as an integral part of their civic responsibility, their business mission and Corporate Social Responsibility.Most businesses recognise that arts and culture have a strong role to play in place building and talent attraction Arts & Culture have a unique role in helping define and articulate what it means to be part of a cohesive society and a healthy culture in our increasingly volatile, complex and unpredictable worldArts and Culture foster the highest levels of thought-leadership and diverse thinking availableArts and Culture nurtures and encourages the creative talent pool of the future from all walks of lifeArts and Culture bring a unique way of problem solving and break through creativity into the classroom and the laboratories of universities (helping drive the shift from STEM TO STEAM)

However, there are very real areas of opportunity which Arts and Business could collaborate more positively around.14