Come and meet the University’s Sustainability Team, find out about how we can help our spiky friends and all things related to hedgehog conservation. Contribute to making a hedgehog footprint tunnel, which will help track hedgehogs in the local area. You can also help place them on Salford University campus – which is a Gold accredited hedgehog friendly campus.
Make a worry doll in our workshop to share your worries with and take home some simple but positive ideas on how you can help the planet in your everyday life. To reduce waste this workshop will use materials left over from previous activities.
Each year, a number of bespoke scholarships are awarded to graduating students from the University of Salford School of Arts, Media, and Creative Technology, through a scheme led by The University of Salford Art Collection in partnership with Castlefield Gallery. This year we are delighted to welcome fine art products company Wallace Seymour as a partner in the scheme, supporting a new Painting Scholarship.
Aiming to support graduates to begin their careers in the art sector, each 12-month award includes a tailored package of support which can include: studio space, mentoring, coaching, research trips, and a bursary for materials, equipment or research travel.
For the 2024 cohort we are pleased to announce Grecia Balassone, India Buxton, Iqra Saied, Jess Robinson and Robin Standring. Find out more about each artist below.
“The Scheme has supported over 50 artists across 10 years, and it has been a joy to see each artists’ practice and career develop over time. The standard of applications was as high as ever this year and is always a difficult choice. However we are delighted to welcome Grecia, India, Iqra, Jess and Robin this year and look forward to supporting them. We are also particularly grateful for Wallace Seymour for sponsoring the scheme this year, and taking part in the selection process” – Assistant Curator, Stephanie Fletcher
Grecia Balassone Grecia is from the BA (Hons) Fine Art degree, and will be recieving a studio placement at Paradise Works.
“I am a multidisciplinary artist, experimenting with a range of ways to tell the stories surrounding a subject. Due to my lived experiences of immigration, neurodivergence, and developmental trauma, my work explores themes of identity, nostalgia, community and belonging. My research approach is immersive. I like to understand the themes I work with from first-hand experience, or the closest to that I am possibly able to get. I find people to be a great source of information, and with stories worth telling. I am also interested in preservation (of history, memories, media, processes), which leads me to create my own archives.”
India Buxton India is also from BA (Hons) Fine Art, and has earned the Wallace Seymour Painting Scholarship. “My practice is interested in exploring the representation and depiction of ancient folklore and mythology in the 21st century. My work draws upon the theories of ancient Greek Philosopher Plato and the ancient stories of their time. The figurative paintings reappropriate old stories into a new visual language that a modern audience can find their own narratives within. These paintings display my chosen stories, which are then modernised into personification of moral fables.“
Iqra Saied Iqra is from BA (Hons) Photography and will be one of the first to be given a studio placement at Castlefield Gallery New Art Space in Warrington.
“Portrait photography is a powerful medium to explore ideas of culture, identity and engage in contemporary debates. ‘Unfamiliar’ starts from my own personal experience of dual heritage. As a British Pakistani, I feel closer to my home in Manchester than I do to Pakistan and these feelings are often difficult to navigate. I have collaborated with Hafsah, Caitlin and Rohan who resonate with the project and understand the sense of guilt associated with not knowing enough about the other place. The photographs aim to communicate the difficulty in building a sense of belonging with a place you have no knowledge of. However, accepting who you are is the best journey of self-discovery. I hope people of dual heritage will find inspiration to embrace their identity and celebrate their heritage.”
Jess Robinson Jess comes from the Visual Communication MA, and will be given a studio placement at Islington Mill. “My current work now draws upon an interest in ancient eastern philosophy and spirituality that provides a refreshing contrast to modern, western values. Using predominantly black and white photography, I am producing imagery which attempts to visualise hidden moments of balance and moments of presence within the live music scene, against the chaos of movement and sound. These images sit alongside my own immersion and connection to natural spaces as an anti-dote to the chaos, finding a common ground and relationship between the two settings. My hope is that through practicing a mindful and connected approach to my creative process, I can step out of conditioned patterns and follow a more intuitive path.”
Robin Standring Robin comes from BA (Hons) Fine Art and will be using the facilities at Hot Bed Press.
“My practice revolves around exploring my own identity, primarily the experiences and interactions I have as a transgender individual, focusing on the aspect of being ‘stealth’ within society today. Being ‘stealth’ in the terms of being transgender, is to live as the gender you identify with but not being openly out as trans, something many trans individuals do in order to avoid discrimination. Through the use of an avatar affectionately named Baghead which I have created in my own self-image, I insert him in a variety of environments and scenarios, often mundane, in which almost everyone experiences, regardless of their race, gender or class; such as waiting for the bus, falling asleep on the train or even standing outside during a fire alarm.”
Preview: 40 Years of the Future: Where Should We Be Now? Thursday 4 July 2024, 6-8pm
The preview of the new exhibition 40 Years of the Future: Where Should We Be Now? was on Thursday 4 July 2024, 6-8pm at Castlefield Gallery, Manchester.
Install shot of Theo Simpson’s work. Image: courtesy of Sam Parker
Presented in partnership with the University of Salford Art Collection, 40 Years of the Future: Where Should We Be Now? brings together the work of a sculptor, photographer and artist-filmmaker – Jeffrey Knopf, Theo Simpson, and Hope Strickland. These artists are deeply committed to their disciplines, but also keen to work with them in expanded and non-traditional ways.
In both the content of their work and materials used, Knopf, Simpson and Strickland explore our complex relationship with the past, present and future. Importantly they challenge the dominant cultural narrative that the world has only one history. As Castlefield Gallery marks 40 years, this exhibition asks us to pause, to reflect and consider how we might imagine the future with the recognition that history isn’t the same for everyone; that amongst the artists we work with and the people that visit Castlefield Gallery, the past is felt and experienced differently.
Opening night discussion. Left to right: Stephanie Fletcher, Matthew Pendergast, Theo Simpson, Jeffrey Knopf. Image: courtesy of Sam Parker.
The exhibition will present existing pieces alongside commissioned works developed in partnership with the University of Salford Art Collection, some of which will enter the University’s collection for the benefit of future generations. This builds on Castlefield Gallery’s decade of co-commissioning and artist development collaborations with the University of Salford Art Collection.
40 Years of the Future: Where Should We Be Now? continues: 7 July 2024 — 6 October 2024. Presented in collaboration with the University of Salford Art Collection
40 Years of the Future: Where Should We Be Now? is supported by Castlefield Gallery Commissioning Patrons Prof Chris Klingenberg and Bridget and Richard Schilizzi
Image: Jeffrey Knopf, Now You See Me (2024), film still. Image courtesy of the artist
Saturday Slow Preview | Saturday 6 July
If you would rather book a timed visit with additional restricted capacity in the gallery and enjoy our new exhibition at your own pace, you can attend our Saturday Slow Preview on Saturday 6 July. This is also a chance for you to ask questions to Castlefield Gallery Curator and Deputy Director Matthew Pendergast. Refreshments will be provided. Book your free tickets here
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Harold Riley work on display in The Old Fire Station. Right to left: St Luke’s Church, Seedley (1975), charcoal and chalk. City Motorway (1977), pastel over lithography. Building by the Railway, Trafford Park (1976), chalk pastel. View of Manchester from Salford (1975), gouache and chalk. Photographed by Sam Parker.
Artist Harold Riley was born in Salford in 1934. After studying at the Slade School of Art, London, and undertaking scholarships in Spain and Italy, he returned to Salford and lived and worked here until his passing in 2023. He dedicated much of his practice to documenting life in Salford and Greater Manchester – from both everyday urban streetscapes to portraits of local sporting stars – particularly at Manchester United FC. Further afield, he also achieved success with portraits of Nelson Mandela, John F Kennedy, and other important public figures.
The University of Salford Art Collection holds more than 100 paintings, drawings, and mixed media artworks by Riley, including local landscapes that capture the changing skylines of Salford and Manchester for over 60 years. Some places, views, and landmarks are still visible today; whilst others have been lost over time to new developments and regeneration.
Do you recognise the locations of City Motorway or View of Manchester from Salford? Get in touch with us by email or Instagram! Photograph it, tag us, let us know how these places have changed over the years.
The 4 works are on display at the Old Fire Station until the end of July 2024. We have also loaned a number of works to the display at Salford Museum & Art Gallery; please visit their website for opening times.
Haven’t visited the Old Fire Station Bakery yet? It’s the newest venue on campus, open to staff students and the public. The cafe, bar and bakery serves speciality coffee, homemade breads and bakes, and a delicious breakfast and lunch menu – including sustainable and locally-sourced options. From 4pm you can also enjoy craft beers, pop-up kitchen vendors, and a range of events from quizzes to live music. Visit the Bakery website for more info and full opening times!
Every Line is Me, Salford Museum & Art Gallery – opening night. Photographed by Sam Parker.
“Bringing together all of Harold’s many disciplines and subject matter including painting, drawing, digital fusions, and photography. It tells the story of the man, showing works that portray places and people that were important to him. There are quotes from the artist that help illustrate the person Harold was, the legacy that he leaves behind, and the strong connection he had with the City of Salford.“
Every Line is Me at Salford Museum and Gallery celebrates Riley’s life and includes several loans from the University of Salford Art Collection (open 19th April 2024 – 27th April 2025; see Museum for full opening days and times).
We are excited to share a new open call opportunity for musicians to respond to the Hybrid Futures exhibition at Salford Museum and Art Gallery. The exhibition is the culmination of a three-year project consisting of a series of exhibitions across the North West of England featuring new work and commissions by visual artists Shezad Dawood, Jessica El Mal, Parham Ghalamdar and RA Walden that address the urgent thematic focus of climate change. Hybrid Futures is a partnership between Castlefield Gallery Manchester; Grundy Art Gallery Blackpool; Touchstones Rochdale; University of Salford Art Collection; and Shezad Dawood Studio, exploring collective and more sustainable ways of working that will influence how the partnership commissions, exhibits and collects new work by visual artists to benefit and be more relevant to their audiences, now and in the future.
This open call is looking for a musician(s) to respond to the Hybrid Futures themes and/or work created by the visual artists, to create a new live presentation to be premiered in Salford Museum and Art Gallery on the opening night of Fat Out Fest.
This opportunity is co-commissioned by Samarbeta, IKLECTIK and Hybrid Futures.
Samarbeta is an artist-led music residency program that exists to offer musicians the time and space away from everyday constraints to produce new and exciting work that otherwise would never be able to be realised. Its meaning is ‘to collaborate’ but this is not a stipulation of each residency. Since forming in 2014 we have worked with musicians such as Lydia Lunch, Moon Duo, Charles Hayward, Stealing Sheep, Ex Easter Island Head, DRS, Laura Cannell, BBC Philharmonic & Thurston Moore.
Founded in 2014, IKLECTIK is a nonprofit creative organisation based in London. IKLECTIK focuses on experimentation within sound, art, new media, emerging technologies and cross disciplinary works. Their research initiatives and collaborations with academic institutions inform our curation and event selection. Through this, they explore processes and techniques whilst addressing social, political and cultural issues
Hybrid Futures, a multi-part collaboration focusing on climate, sustainability, collaborative learning and co-production between Castlefield Gallery, Manchester, Grundy Art Gallery, Blackpool, Touchstones Rochdale, University of Salford Art Collection and Shezad Dawood Studio, and generously supported by Arts Council England and Art Fund with additional funding from Henry Moore Foundation.
Two new pieces of writing in response to the debut of The Conductor, a brand new performance artwork developed by Mishka Henner as part of his Energy House 2.0 artist residency. You can now read reviews from Lizzie King and Jack Nicholls for Corridor8.
The Conductor captivated audiences at Sounds From the Other City 2024 by translating live lightning data into electrifying percussion. Set in a reverberation chamber at the University of Salford Acoustics Department, The Conductor is the result of an 18-month artist residency by Henner at the University of Salford’s Energy House 2.0, a cutting-edge research facility that simulates extreme global climatic conditions under one roof to help design net zero and carbon neutral housing for the future.
Dive into the immersive experience by reading the reviews from Lizzie King and Jack Nicholls here:
“At Salford’s Sounds from the Other City music festival I was led across a university campus with nineteen others to an out-of-the-way departmental building. After being shepherded through its corridors, we entered a smoke-dark room…
The Energy House 2.0 Artist Residency Programme is organised by the University of Salford Art Collection in partnership with Open Eye Gallery, Liverpool as part of the LOOK Photo Biennial, and Castlefield Gallery, Manchester, and generously supported by Friends of Energy House Labs.
A Piece of Something Bigger officially begins showing in the New Adelphi Exhibition Gallery, coinciding with the University of Salford Degree Show, on Thursday 23rd May 2024!
Flanagan’s film explores contemporary masculinity through the prism of package holiday culture. Flanagan looks at the ideas entrenched in the male gender stereotype that saturated his youth as a way of disentangling himself. Misunderstood and under pressure to conform and perform, he studies a tension from his own experience between one’s own consciousness and social expectation.
As part of the Degree Show opening night the New Adelphi Exhibition Gallery will remain open until 8:30pm, giving you plenty of time to experience Flanagan’s film. More information about the Degree Show here.
If you can’t attend in person, be sure to check out the online showing of the film below, this link also provides you with more information about Flanagan’s film!
The Conductor, a performance by Manchester-based artist Mishka Henner channels live lightning data from around the world through a single percussionist beating a drum each time a lightning strike occurs in the world.
Set in a reverb acoustic chamber at the University of Salford, The Conductor is the result of an 18-month artist residency by Henner at the University of Salford’s Energy House 2.0, a cutting-edge research facility that simulates extreme global climatic conditions under one roof to help design net zero and carbon neutral housing for the future.
Screenshot from Blitzortung.org
Presented by the artist as an “Energy House Party”, The Conductor promises to be an immersive and unforgettable sonic and physical experience, offering audiences a profound opportunity to contemplate Earth’s natural forces and our relationship to them in a new light.
Describing The Conductor, Henner says: “We live in a world haunted by climate change and are connected to distant natural disasters like never before. The Energy House 2.0 project says so much about our generation’s connection to the planet and our desire to live more sustainably. With The Conductor, I’ve tried to find an artistic response that conveys this new and often terrifying relationship we have with our planet. As a species, our experience of thunder and lightning is so primal and has forever been tied to the mysterious powers of nature.”
The performance is made possible thanks to live data available on Blitzortung.org, a remarkable network of 10,000 lightning sensors distributed around the world. As Henner says: “Through Blitzortung, we can literally see planetary and climatic forces at work. The whole planet is a kind of Energy House and our species’ survival depends on our ability to understand and harness these natural forces.”
A graphic score of the performance – whose design is inspired by the work of the scientists at Energy House 2.0 – will be published after the event, allowing future generations of musicians to reinterpret our present-day climate conditions.
Join us for an unforgettable experience that transcends boundaries and resonates with the urgency of our changing world.
Professor Richard Fitton, Director of Energy House Labs, added: “Our artist-in-residence programme has grown from strength to strength in the past few years, and we are now on our third residency. This scheme aims to take some of the building science work done at Energy House 2.0 and create groundbreaking artworks – we see this as a positive impact to the work we do, engaging the public in ways that we simply could not have done beforehand.”
Tickets for Sounds From the Other City are available now. Attendees can sign up for a time slot for The Conductor when they collect their wristbands, with five performances on the hour from 3.00pm.
The Artist in Residence programme at Energy House 2.0 is organised by the University of Salford Art Collection in partnership with Open Eye Gallery, Liverpool as part of the LOOK Photo Biennial and Castlefield Gallery, Manchester and generously supported by Friends of Energy House Labs.
Next month, Hybrid Futures: Making, Showing and Collecting Art in a Time of Climate Crisis, will be hosted in Salford. This symposium will see a day of activity and conversation around the ambitious three-year hybrid Futures project.
What are the environmental issues currently facing museum collections, art galleries and artists?
Is it possible to make your work more sustainable in the visual arts sector?
How can arts organisations and their local communities work together to influence change?
Is there the potential to test ideas and new ways of working in order to create a robust and effective model to change the way that galleries should operate in the future?
Installation View: Hybrid Futures at Salford Museum & Art Gallery, 2024. Photography by Jules Lister.
Join us and our Hybrid Futures partners, along with the Hybrid Futures artists (Shezad Dawood, Jessica El Mal, Parham Ghalamdar & RA Walden), commissioners, local authority staff, funders, community members and consultants, for a day of conversation and activity; sharing our learning and exploring together actions our sector can take to create enduring and effective models of sustainable practice for galleries and museums.
You will leave having met like-minded colleagues and equipped with practical knowledge and encouragement to make changes and take action.
We’re delighted to share with you some of the names who will be a part of the day’s programming on the 10th of May.
Speakers and convenors:
Kit Abramson, Collective Futures, Creative Producer; Paulette Brien, Grundy Art Gallery; Rachael Burns, Touchstones Rochdale; Danny Chivers, Hybrid Futures Sustainability Advisor (Gallery Climate Coalition); Helen Cooper, Senior Manager, Philanthropy/Visual Arts, Arts Council England; Claire Corrin, Salford Museum and Art Gallery; Shezad Dawood, Hybrid Futures lead artist; Paul Dennett, Salford City Mayor; Mark Doyle, Touchstones Rochdale; Jessica El Mal, Hybrid Futures artist; Parham Ghalamdar, Hybrid Futures artist; Mishka Henner, Artist in Residence at Energy House 2.0, University of Salford; Matthew Pendergast, Castlefield Gallery; Rowan Pritchard, Exhibition Coordinator, University of Salford Art Collection; Emily Speed, Artist in Residence at Energy House 2.0, University of Salford; Lindsay Taylor, University of Salford Art Collection; RA Walden, Hybrid Futures artist (via video link), Kate Wafer, Hybrid Futures Evaluation Consultant; Helen Wewiora, Castlefield Gallery.
There is also a Marketplace where you can meet relevant organisations to get the latest information and guidance. Participants confirmed include Museums Development North, The Carbon Literacy Project, LANDS (Lancashire Arts Network for Developing Sustainability), GMAST (Greater Manchester Arts Sustainability Team), University of Salford Sustainability Team, and SPARK.
Want to know more about Hybrid Futures so far? Visit the Hybrid Futures website for more information on the Symposium, the Hybrid Futures partners, artists and exhibitions, case studies & resources. You can also now read all the reflections from the Collective Futures community engagement project.
Back in February the Art Collection team returned to the Williamson Art Gallery & Museum to host a final event for the Craig Easton Is Anybody Listening? and Our Time, Our Place touring programme. The symposium ‘Commissioning and Collecting Socially Engaged Photography’ brought together partners and stakeholders along with artists and participating communities to ask again: Is Anybody Listening? It was a full day of talks from artists and facilitators, as well as audience feedback sessions based around the concept of ‘socially engaged practices’ and their place in the art world.
In the morning, we heard directly from Craig Easton, along with artists/facilitators Liz Wewiora, Poppy Cain, and Gwen Riley Jones; celebrating the work of the young people and emerging photographers that they supported, as well as discovering what impact each project had.
Gwen Riley Jones, Lindsay Taylor, and Rob Fulton enjoying their time on the discussion panel. Photo credit : Roger Sinek
Stemming from questions that have arisen during the project, the afternoon focused more closely on the ethics surrounding socially engaged photographic practice – from commissioning and collecting through to what is valued, by who – and why? Speakers including Sarah Fisher (Executive Director of Open Eye Gallery, Liverpool), Lindsay Taylor (Curator, University of Salford), Laura Jamieson (Creative Producer, LeftCoast), Craig Easton (exhibiting artist/documentarian), Gwen Riley Jones (socially engaged photographer and Creative Director of Stockroom), and Rob Fulton (Youth Work Manager, Salford Youth Service) each presented a response to the question: From the spectrum of socially engaged photographic practice, what should we be collecting?
The panel went on to answer questions about what evidence there was that our audience are interested in socially engaged photographic practice, whether we are omitting an important part of art history by failing to collect socially engaged practice, and how we might begin to think about recompense for those co-authoring the work; this led to a very engaged and thought-provoking debate amongst the delegates.
The event then finished with a touching reading from poet Abdul Aziz Hafiz; collaborator on Craig Easton’s Bank Top project.
Abdul Aziz Hafiz reading his poem to the room. Photo credit : Sam Parker
At the Art Collection, we know that our recent socially-engaged work with young people has already made a huge impact on the way we work – including the way we think about commissioning, collecting, and reaching audiences and participants. In particular, our projects with Salford Youth Service have proved particularly inspiring, and we hope to find ways to develop this work further in future.
Sam Parker, Art Collection Team Assistant, April 2024
