First up, what is an Artist Takeover?

Aviva Studios’ vast spaces have been designed to provoke artists to do things differently, explore what’s possible and offer a backdrop to create some of the most ambitious work in the world.

In Summer 2024, we handed over the keys for the South Warehouse to two collectives – Jennifer Jackson, Rosie Elnile and Craig McCorquodale, and 54: Manchester – inviting them to experiment, play and explore working at an epic scale that is not possible elsewhere.

Each collective was given financial support of up to £10,000, dedicated guidance from the Factory International team and a week in the space to explore and realise their idea.

So, what did they create?

Jennifer Jackson, Rosie Elnile and Craig McCorquodale

Our first Artist Takeover brought together three artists: Jennifer Jackson, Rosie Elnile and Craig McCorquodale. They experimented with malleable materials like clay to transform Aviva Studios into a world redolent of the Roman gladiatorial arena, with its glory and cruelty.

The trio invited 100 professional and non-professional performers into the space – including a brass band, babies and carers, Latin American ballroom dancers, cheerleaders, a male voice choir, a town crier, an MC and a huge team of volunteer performers. On the final day, they presented a ‘live experiment’ where all the groups joined in.

The process

We sat down with Jennifer Jackson to find out more about the process.

How did you find the Artist Takeover experience? 

We went on a real journey of discovery with the team at Factory International, and in the lead up to the takeover, there was a lot of planning, budgeting, creative meetings, dramaturgical work and site visits.

On the final day, I was really moved by the openness of the participants and team in the open rehearsal. Being able to see the fruits of all that preparation in action was a beautiful thing. We learned so much from the Takeover experience, not just about the idea, but about what working at scale means at the earliest stages.

Did your project change at all once you were in the building?

We did a number of site visits to get a sense of the Warehouse, but you get into any space and things have to move and shift a little. This isn’t always a negative challenge. We learned lots about the space really quickly by being able to test things in situ, and this is the unique thing about the Artist Takeover, that these things can actually be tested, rather than remaining ‘theoretical’.

As we added elements to the space, we could see how the space might function as an arena. When people arrived to work with us and started to occupy the space, we began to clarify what worked, what didn’t and where we had more questions. One of the biggest discoveries was that whilst working with participants, suddenly the space was charged with a different energy. Things began to open up and a whole new set of questions started to emerge.

What's it been like experimenting with scale? 

We were attempting to conjure something ‘epic’ in the Warehouse – and that’s quite hard to do, but it’s also sometimes hard to qualify what that actually means.

We ended up talking about the idea as ‘Event Theatre’ and thinking about scale in the relationship between ideas and images. Sometimes a small moment, captured on camera and replayed on a large screen in the space delivered this; other times, mass movement of a larger group of people helped us conjure the epic. 

Personally, working at scale with people was a real joy. You don’t often get to work with large casts, and it’s a unique offer to be able to bring together a large company to test ideas in the current financial landscape. The one thing that we all learned was how much producing and planning it takes to deliver something at scale, and that’s where having access to the teams at Factory International has been invaluable. 

54: Manchester

54: Manchester turned the South Warehouse into an immersive audio-visual installation, investigating the interconnections of their heritage and culture. Using archive film materials, sound and material design, the collective hoped to present a contemporary and authentic representation of the Black British experience in the North West.

On one side of the Warehouse, 54: Manchester created an immersive, fabric walkway with archive film materials projected on to the sides. On the other side, the collective performed inside a closed box with small windows, which members of the audience could peep through. Guests were invited to explore both sections of the installation.

The process

We sat down with 54: Manchester to find out more.

Did your project change at all once you were in the building?

Yes, while the core intention of our narrative remained the same, the presentation evolved significantly through experimentation and research. We pushed ourselves to explore just how immersive we could make the experience, and even now, we see the potential to go even further, which is incredibly exciting.

We had insightful conversations with the Factory team – producers, associates, and others – who helped us step back and assess our project from the viewer’s or consumer’s perspective. This allowed us to refine our direction and purpose with greater clarity.

Being physically present in the space offered us a fresh perspective, transforming our ideas of presentation and revealing how things would work or come together practically.

What's it been like experimenting with scale? How have you made use of the vast South Warehouse space?

Entering the space was amazing, like the excitement of exploring an IKEA or a furniture store for the first time as a kid. In the vast, empty warehouse, we initially felt small, but this scale was precisely why we were there. It was crucial for us to push boundaries and create environments that challenged the senses of the audience. The space itself, though initially daunting, provided the perfect canvas for our ideas to expand, especially with the support of our dedicated team. It was like turning a vast, empty house into a home – lighting some incense, grabbing a coffee, and diving in.

We aimed to redefine storytelling, emphasizing that interaction with the narrative was just as crucial as the story itself. By combining various mediums to craft a sensory experience, scale became essential for presenting this as an immersive landscape. The spacious environment allowed guests to explore freely, whether alone or with others. As they navigated the space, their interactions influenced the live audio and overall experience.

We held two viewings to test different elements of our production. Naturally, the live performance varied, as did the environment and interactions, reflecting the dynamic nature of our work.

What’s next for your collective?

Now that we've had the chance to experience and test our ideas during takeover week, we want to take time to reflect and refine our concepts for future projects. This period of reflection will allow us to celebrate what we've accomplished and recognise the special opportunity we've had.

The experience has been both overwhelming and extraordinary, and it deserves to be acknowledged. Next, we'll regroup to gather feedback, discuss research and development, explore the project's future potential, and identify areas for improvement.

To round up: what advice would you give to artists who are just starting out?

Jennifer Jackson: It’s such a huge challenge to make work right now. We are encouraged to think small in terms of finances and budgets, but that also can lead to a curtailing of the imagination. I think it’s something we as a collective were really feeling when we applied for the Takeover. There aren’t many places where you can test work at scale, and dream bigger, which was something that was encouraged by the Factory team. Personally, one of the big learnings for me on this was don’t allow your ideas to shrink through fear. Hold your nerve.

In terms of practice, I would say take the time and energy where you can to nourish yourself as an artist. Try to see and absorb as much work as you can, of all kinds of disciplines.

I would also say try to apply for these call-outs when they come around – the act of putting together a pitch can help refine or clarify your ideas. 

Come to the networking events, in and around Manchester, I do think it’s one of the most accessible and friendliest communities in the UK. I have felt very welcomed since moving here back in 2018, and there are so many wonderful artists up here. 

Tibyan (54: Manchester): If an idea speaks to you, listen to it. Create structure for yourself which has time for you to challenge your thoughts and concept: take yourself away from your work and the scene you're in and chat to people who don’t care about art. Allow yourself to strip back so what you’re saying is strong

Josh (54: Manchester): Communicate well and learn how to communicate your work well. Don’t dismiss the importance of building and maintaining good relationships and make sure to be a good person in the process

Gabriel (54: Manchester): Just remind yourself of why you do this. Think of that first memory of what sparked the match and just feed off it all. Then find in yourself or others the means to help that match grow and flicker into something meaningful and purposeful.

Jahqira (54: Manchester): Take your time and experiment

Ready to apply? Find out more about the programme and how to apply here.