The Triumphant Return of Sheffield's Art Scene – 谢菲尔德·039艺术舞台的凯旋归来

For over a year, a significant hole was left in Sheffield’s art scene as two of the city’s most significant galleries, Site Gallery and S1 Artspace, were closed for redevelopment. The absence of a significant institutional presence had seen Site and S1 become hugely important to the city, making their closure keenly felt. While S1’s development is still ongoing, the July opening of their current space, followed by the September opening of Site’s newly expanded home, trebling the gallery in size, felt like a triumphant return. 

With Sharna Jackson recently appointed as the new Artistic Director, Site’s reopening also feels like a fresh start, a chance to reconsider the nature of the organization and its role within Sheffield’s ecology. Jackson’s background in digital and social engagement positions her appointment as indicative of a growing trend across the sector towards recalibrating the priorities of the gallery to be more focused on engagement, and to integrate that with exhibitions, to make it part of the main course rather than a side dish.


The Triumphant Return of Sheffield's Art Scene - 谢菲尔德·039艺术舞台的凯旋归来

‘Construction House: Order & Limitations’, 2018, installation view, S1 Artspace, Sheffield. Courtesy: S1 Artspace, Sheffield; photograph: Reuben James Brown

Jackson’s vision for Site has yet to really be seen, as the re-opening exhibition ‘Liquid Crystal Display’ was curated by her predecessor Laura Sillars and current curator Angelica Sule. The exhibition’s title references the ubiquitous LCD displays found across smartphones, computers, televisions and more, and posits that we now live in a ‘crystal era’. The show is literally structured around Anna Barham’s newly commissioned Crystal Fabric Field (2018), which houses the other artworks within its crystalline structure, unfolding and stretching its angular form throughout the gallery space, making the most of the new possibility for working on a large scale.

Nearby, situated within the iconic brutalist housing estate Park Hill, S1 inhabits its second temporary home within the estate, within the former parking garage, where they intend to stay for approximately five years, as plans develop and funding is secured for the new permanent gallery and studio complex to be built on the same site. As such, the current incarnation seems like a test run for the future, proof of concept before funding bodies like Arts Council England or the Heritage Lottery Fund commit to supporting the full-scale redevelopment.

The current exhibition programme, ‘Construction House’, exhibits S1’s studio holders throughout a six-month programme of exhibitions responding to different aspects of teaching at the Bauhaus, ahead of the legendary school’s centenary in 2019. Initially set up by graduates from Sheffield Hallam University in 1995, S1 used to be more of a studio space than a gallery, and while the emphasis has changed over time, the organization has always maintained some studios, and it has always provided opportunities for the studio artists to be part of the exhibitions programme. The plans for the permanent site include room for 50 studios, bringing back balance to the two main functions of the organisation, while the integration of the studios and the gallery, at this proposed scale, offers a different model for how a gallery can function, including local artists as opposed to elsewhere in the country, where artists often claim to be shut out from inaccessible local institutions.


The Triumphant Return of Sheffield's Art Scene - 谢菲尔德·039艺术舞台的凯旋归来

Rachel Adams, ‘​Lowlight’, 2018, installation view, Bloc Projects, Sheffield. Courtesy: Bloc Projects, Sheffield

Support for local artists is a running theme across Sheffield’s organizations, as this summer Site was awarded GBP £375,000 from the Freelands Foundation to support 20 artists over the next five years, while Bloc Projects have been able to increase their artists’ professional development offering through Making Ways, a Sheffield Culture Consortium visual arts programme that supports much of the current activity in the city. Working on a smaller scale than S1 or Site, Bloc Projects have nonetheless become integral to Sheffield’s gallery scene, focusing on artist development, often giving an artist their first solo show, while the adjacent Bloc Studios accommodate over 60 artists in their city-centre building. 

City-centre studios are a surprisingly real possibility in Sheffield, as artists around the country continue to be pushed further and further to the peripheries of the city, organizations such as Bloc Studios and Yorkshire Artspace just between the two of them have the capacity for more than 200 artists and makers right in the heart of the city. The longevity of these organizations is also notable, as Site approach their 40th year in 2019, Yorkshire Artspace are a further two years older still, and the youngest of the organizations mentioned thus far, Bloc Projects, have been going since 2002.


The Triumphant Return of Sheffield's Art Scene - 谢菲尔德·039艺术舞台的凯旋归来

Ann Lislegaard, Crystal World, 2018, installation view, ‘Liquid Crystal Display’. Courtesy: Site Gallery, Sheffield; photograph: Jules Lister

It was this longevity, the desire for something new amongst the longstanding foundations of the city’s art-scene, that motivated Mark Riddington to form Gloam, a small-scale project space and studios nearby to Site and Bloc within Sheffield’s ‘cultural quarter’. As organizations such as S1 and Bloc become increasingly professionalized, it has created a gap for the more flexible, experimental artist-led projects such as Gloam. Similarly, recent Sheffield Hallam graduates Hannah Lamb and Lucy Lound founded Womp in August of this year, aiming to provide cheap studios for artists such as themselves who are recently out of university and are priced out of studios within the more established organizations. The availability of space in Sheffield ensures that there is still room for artist-led projects within the city, and although Gloam are due to lose their current space to residential development, it’s this availability that allows Riddington to be calmly confident of finding a suitable replacement. 

Whether it will stay this way is yet to be seen, Sheffield could end up going the way of London or Manchester, with development running amok and creating an unsustainably expensive city. But for now, the scene seems to be in robust good health, with one outstanding contemporary art centre just opened in Site Gallery, another not far off in S1 Artspace, while retaining the presence and input of local artists.

Main image: Tim Etchells, Different Today, 2018, Site Gallery, Sheffield. Courtesy: Site Gallery, Sheffield; photograph: Jules Lister

Tom Emery

Tom Emery is a curator and writer based in Manchester.

City Report /

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Bloc Projects
Tom Emery
City Report

一年多来,在谢菲尔德的艺术舞台上留下了一个重大的漏洞,因为这个城市最重要的两个画廊,即Site Gallery和S1 Artspace,被关闭进行重建。由于缺乏重要的机构存在,Site和S1对城市变得极其重要,使得他们强烈地感受到了封闭。虽然S1的发展仍在进行中,但7月份他们目前的空间开放,接着9月份新扩建的房屋开放,使画廊的规模增加了两倍,感觉像是凯旋而归。随着莎娜·杰克逊最近被任命为新的艺术总监,Site重新开业。ng还觉得这是一个新的开始,是一个重新考虑组织性质及其在谢菲尔德生态学中作用的机会。杰克逊在数字和社会参与方面的背景表明她的任命表明整个行业都在不断调整画廊的优先次序,使其更加关注参与,并将其与展览相结合,使之成为主课程的一部分。比边菜好。s1_artspace_._house_order_.s_.ion_view_2018._._by_reuben_james_brown_150_dpi_2.jpg The Triumphant Return of Sheffield's Art Scene - 谢菲尔德·039艺术舞台的凯旋归来“Construction House:Order&Limitations”,2018,安装视图,S1 Artspace,Sheffield。礼貌:谢菲尔德,S1 Artspace;照片:鲁本·詹姆斯·布朗·杰克逊的遗址愿景尚未被真正看到,因为重新开幕的展览“液晶显示器”是由她的前任劳拉·西拉尔斯和现任馆长安吉丽卡·苏尔策划的。展览的标题引用无处不在的液晶显示器在智能手机、电脑、电视和更多的,认为我们现在生活在一个“水晶时代。表演实际上是围绕着Anna Barham的新的委托 水晶面料领域 (2018年),该房屋的其他作品在其结晶结构,折叠和伸展它的角形在画廊空间,充分利用新的可能性的工作上大比例尺。附近,位于标志性的野兽派房地产公园山,S1在其第二临时的家在地产,在前的停车场,打算在那里呆了大约五年,计划发展和资金安全新的永久性的画廊和工作室要在同一个站点上建造。因此,当前的化身,似乎未来的试运行,证明概念之前,资助机构如英国艺术理事会或遗产彩票基金会致力于支持全面重建。目前的展览项目,建设房屋”,展品S1的工作室持有人在6个月的课程展览在包豪斯教学的不同方面的反应,在2019之前,学校的百年传奇。最初成立的谢菲尔德海兰姆大学1995届毕业生,S1是一个更大的工作室空间比一个画廊,而重点发生了变化,随着时间的推移,该组织一直保持着一定的工作室,它总是提供给工作室的艺术家参与的机会展览计划。为永久会址的计划包括50工作室房间,带回平衡组织的主要功能,而工作室和画廊的整合,在该规模,提供了一个不同的模式如何画廊的功能,包括本地艺术家反对D到这个国家的其他地方,那里的艺术家经常声称被关在无法接近的地方机构。dscf5873.jpg The Triumphant Return of Sheffield's Art Scene - 谢菲尔德·039艺术舞台的凯旋归来 Rachel Adams,“​低潮,2018年,安装角度,集团项目,谢菲尔德。礼貌:一个集团项目,谢菲尔德支持当地艺术家是整个谢菲尔德组织的一个主题,因为这个夏天的网站从自由基金会获得了375000英镑的支持,在接下来的五年里支持了20位艺术家,而BoC项目已经能够进入。提高自己的艺术专业发展提供通过方式,谢菲尔德文化协会视觉艺术计划,支持多城市的当前活动。工作在一个比S1或网站规模较小,集团项目仍然成为谢菲尔德的画廊现场整体,注重艺术家的发展,经常给艺术家他们的首次个展,而相邻的集团工作室容纳超过60的艺术家在他们的城市中心的建设。 市—中心工作室是谢菲尔德一个令人惊讶的现实可能性,为全国各地的艺术家继续推动深入到城市的边缘,如组织就在他们两个之间集团工作室和约克郡艺术空间超过200艺术家有能力而制造者就在这个城市的中心。这些组织的寿命也是显著的,因为站点的方法,他们的40年到2019年,约克郡艺术空间是另一个大两岁,和年轻的组织提到,迄今为止,集团项目,已将自2002年。img_4024-large.jpg The Triumphant Return of Sheffield's Art Scene - 谢菲尔德·039艺术舞台的凯旋归来安李斯勒伽德,水晶世界,2018年,安装角度,液晶显示。礼貌:网站画廊,谢菲尔德;摄影:Jules Lister是长寿,在这座城市的艺术氛围的长期基础的新东西的欲望,促使Mark Riddington形成了黄昏,一个小规模的项目空间和工作室附近的场地和谢菲尔德的“文化区”内的集团。组织如S1和集团越来越专业化,这就产生了一个缺口,更为灵活,实验艺术家主导的项目如黄昏。同样,最近谢菲尔德哈勒姆毕业生Hannah Lamb和露西创办的闪光式在今年8月,旨在为艺术家如自己最近从大学和价格的工作室更成熟的组织内提供廉价的工作室。谢菲尔德的可用空间确保仍有空间艺术家主导的项目在城市,虽然黄昏是由于失去当前空间的住宅开发,它的可用性,这可以让Riddington找到一个合适的替代从容自信T. 是否会持续下去仍有待观察,谢菲尔德最终可能去伦敦或者曼彻斯特的方式,以发展失控和创造前所未有的昂贵的城市。但现在,现场似乎是在强大的良好的健康,一个优秀的当代艺术中心就在现场馆开幕,另一个不远的S1艺术空间,同时保持与当地艺术家输入的存在。主要形象:Tim Etchells,不同的今天,2018,网站画廊,谢菲尔德。礼貌:网站画廊,谢菲尔德; 摄影:朱勒李斯特汤姆金刚砂金刚砂是馆长汤姆和作家在曼彻斯特。城市的报告/谢菲尔德s1artspace网站画廊集团项目黄昏汤姆金刚城市报告


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