Conferences. We all get to go to them and sometimes we present. Sometimes we even organise them. This year Nicky Sim got to organise a very important conference – the first of a series of wrap-ups of the Circuit programme. It was held at Nottingham Contemporary on March 10th.
Circuit is/was a four-year programme funded by Paul Hamlyn. It brought art galleries and youth organisations together to provide cultural programmes and festivals for young people who might not typically be engaged with an art museum.
We are connected with Circuit in two ways – Nicky has conducted ethnographic research into ‘partnership’ through a TATE – Nottingham AHRC funded studentship, and Becky Coles and I are doing a longitudinal study of 21 people engaged in the ‘youth’ programming/curating collectives. So Becky and I were there, as well as Nicky of course.
The conference theme addressed the possibilities, risks and challenges of developing democratic practice between young people, youth organisations and galleries. (Young people are defined as 15-25)
The attendees came primarily from the ‘youth’ and ‘gallery’ sectors with a few other people, researchers and arts administrators, added in.
The proceedings were a mix of presentations and discussions with some time for ‘table’ conversations.
Some of the learnings of Circuit were clearly on show, both as displays and in the discussions. Youth Collectives have taught galleries that
- successful programming for young people is inter-disciplinary – film, music, visual and performing arts together
- young people need to see themselves represented in gallery activities
- there has to be something for me, something that is relevant to me
- activities have to offer something – personal development, the opportunity to socialise, new connections
- activities have to be free and accessible.
Difficult questions were raised and some of the more obvious tensions emerged – the terms ‘young people’, ‘diversity’ and ‘hard to reach’ were an ongoing issue. The hierarchies of power within galleries, the continued attacks on the youth sector and informal education, the possibility of institutional critique becoming a programme of concrete activity challenged all of us.
Becky and I were both pleased to discuss the gallery as a ‘gig’ economy and the parlous state of employment in the arts in general and for young adults in particular; this is a major issue emerging from our research.
Nicky and Rachel from Circuit did a great job in organising the conference. Nicky’s commitment to ensuring that a wide range of views were on the table was enacted through the programme. The process and the topic were congruent.
I’m sure all of us left with some key things to think about and even perhaps with a concrete action in mind.