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TRANSPORTED: GMPTE ART STRATEGY

[Draft for Public Consultation]


CONTENTS
Exec Summary
3
Introduction
6
The Brief
6
Public Art
9
Transported: The Rationale
16
The Vision
17
The Aims
19
The Objectives
19
Transported: The Plan
20
The Pilot
24
Governance
28
Funding
29
INDICATIVE ACTION PLAN (to be developed)
29
APPENDIX I - LAA’s and MAAs
31
APPENDIX II - List of Stakeholders
33
APPENDIX III - 59 Bus Route
34
APPENDIX IV - 22 Bus Route
35
APPENDIX V - Current & Future Metrolink Routes
36
APPENDIX VI - Research Method
37

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Exec Summary The Plan
Introduction Transported will curate and commission only temporary works and
Greater Manchester Passenger Transport Executive (GMPTE) and Arts interventions; unless or until they are made permanent through public
Council North West (ACE:NW) commissioned The White Room and demand. The rationale for this approach is drawn for the permanent
Liam Curtin to undertake research and development for an Arts Strategy nature of most journeys.
for the Greater Manchester Transport Network.
The Strategy will work across all art forms and will take place on buses,
The aims of the brief were to increase numbers, improve the passenger trams, bus stops, tram and train stations, at key community buildings and
experience, have positive impact on environment, enhance partnership spaces along those routes.
working, contribute to area regeneration, develop new audiences for art,
link to and add value to current cultural venues & programmes, provide It will exist online and in other forms of media. It will be dynamic,
innovative background for renowned artist and opportunities for interactive, seasonal, time specific. It will be delivered on vehicles, on the
communities and emerging artists and to raise the profile of Manchester ground, on buildings, to mobiles, message boards and online to your
internationally as the Original Modern City. desktop.

This strategy is the result of considerable consultation with transport Whilst it is driven by the best international artistic practice, community
operators, regulators, planners, artists and communities. The central ideas engagement and local ownership is at the heart of the strategy. The
emerging from this process and tested at a forum held in Manchester in programme will build capacity in the community to commission, and in
July 2009. The overwhelming view was one of support for the ideas in some cases, make the art itself.
the strategy plus the promise of on going support and participation.
Collective thinking will be a driving force when implementing the strategy. The plan is to create a linear series of artworks along a bus, train or tram
route. It will be an annual 365 day Route Festival. At the end of the year
Transported is the Arts Strategy for GMPTE. It is a bold and innovative the festival will rotate to another route so that within 5 years all local
strategy that disrupts existing notions of ‘public art’ and creates a authorities will have been involved.
platform to all art forms to connect, communicate, collaborate and
innovate across the region. Transported is the working title for the Passengers and Communities
strategy. It combines the roles of public transport which transports us The artworks will be partly curated by the community with the help of
physically and art which transports us metaphorically - to another place. professionals. Guest curators will also be selecting different strands of
the scheme. Operators and partners will work together to develop these
The Public Transport system is ‘the great connector’ and the ideal vehicle themes with the artists.
to bring the arts to the people and people to the arts.

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Art and Design The strategy suggests an initial 1-year pilot Route Festival in order to
The strategy recommends that the very best international architects and establish best practice for delivery and a refined framework for process,
designers are engaged for capital developments and that the commission products and projects.


of permanent artwork whether integrated in the building or stand alone
is unnecessary. The following two years should be seen as Action Research and
Development during which an experimental approach is adopted. During
Good design is about function and aesthetics whereas art is about this period best practice can be evolved.
expression. The opportunities to invest in art should be guided by the
principles of the strategy - that it should be temporary unless made Over a ten-year period Transported can become the best and biggest
permanent by public demand. interactive arts initiative in the world - very Manchester, truly original and
modern.
Temporary and Permanent
This Strategy suggests that a new approach to public art is required and
that GMPTE, ACE:NW and other stakeholders can be pioneers in this.

The Strategy provides a rationale for not building one iconic structure
(e.g. Angel of the North) and also recommends moving away from
permanent commissions in favour of temporary art that should only be
made permanent through public demand.

The essence of our strategy is “exploring the nature of permanence in


the 21st Century through temporary artworks”.

The vast majority of journeys are routine, repetitive, constant -


permanent. To enrich those journeys the art should be ephemeral,
transient - temporary.

Implementation
To take this Strategy and make it happen will require a 6-month
development period. During this time a number of tasks need to be
undertaken. These include: Partnership Development; Community
Consultation; Curator and Artist Competition, Interactive on-line hub;
Route Selection; Funding Development and detailed 3 year Delivery Plan.

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INTRODUCTION

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Introduction The scope for the research and development of the strategy was wide
GMPTE and ACE:NW have commissioned The White Room and Liam ranging and covered:
Curtin to create a 10 year Arts Strategy at a time when £1.5 billion is
being invested in their capital infrastructure and public transport is • A review and critique of good practice Art in the Public Realm
becoming ever more popular and environmentally critical. through an evaluation of previous GMPTE projects and other
examples of transport and non-transport based initiatives
The Strategy gives GMPTE and ACE:NW an innovative Vision and
prioritised Action Plan to develop and deliver challenging and popular • An exploration of innovation in community engagement and the
arts projects to passengers, communities and visitors across the 10 local potential for this using the Arts on the transport network
authorities in Greater Manchester (GM).
• New audiences and how to reach them especially through
It has been developed to improve the passenger experience at stations, planned new extensions, including international audiences from
stops, on buses, trams and trains. When deployed, over time, it will Manchester Airpor t, and national business visitors to
increase passenger numbers for operators and improve the passenger MediaCity:UK
transport experience for all users. It will provide new audiences for all
the arts and provide a new platform for community engagement across • Opportunities to link public art into the extension plans at an
the region. early stage (building design and infrastructure – such as bus
shelters etc.) – identifying key major projects throughout the
As the Arts Strategy becomes a central element to GMPTE operations, it network
will not only transform the identity of the network but will also
contribute to enhanced communication, marketing and PR; contribute to • Opportunities to link in with key partners across the city region
and drive the regions’ environmental credentials; and engage, entertain, including the BBC, Irwell Sculpture Trail, Manchester Airport and
educate and transform communities and engagement with those other cultural organisations
communities. It will revive local ownership and pride at the same time as
attracting international recognition and participation. • Funding opportunities to support sustainability of a public arts
programme, individual projects and resources for these including
Transported has the potential to be the biggest mass participation arts grants, awards and potential sponsorship
programme in the world.
• Cost and Resource implications for partners including key
The Brief projects, marketing, maintenance, professional fees etc. staff/posts
The strategy is jointly funded by GMPTE and Arts Council England required to support ongoing activity
(ACE). It is overseen by a Steering Group consisting of ACE, GMPTE and
two Arts Officers representing the AGMA Arts Officers Group. • Provision of a clear strategic vision for GMPTE’s arts policy

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PUBLIC ART

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Frequent traveller: by Simon Green and Christopher Sperandio
Simon travelled a bus route interviewing frequent travellers then told their stories in strip cartoon style and displayed them on the same bus route.
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Public Art What’s wrong with Public Art today?
Public Art has been a growing industry over the last 30 years. It has In the past, statues of heroes and rulers were erected in urban squares,
previously included monumental pieces, historical markers that the craftsmanship was good but the works were largely imposed on the
remember ‘great’ people, events and identities and only commemorate people.
the masses when they have fallen for their country. These have become
like quaint ornaments punctuating our town centres and go largely
unnoticed today.

Public Art now can mean anything from the great icons, such as The
Angel of the North, to school railings designed by pupils.

Over the last thirty years there has been a growing desire on the part of
commissioners to include the public in a consultation process which can
include voting on the best proposals from a shortlist to a full engagement
of the community in a participatory process. They believe that through
this involvement they will achieve for the local community a sense of
This Strategy suggests that a new approach to public ownership which will help them to cherish the work and thus secure its
longevity both physically and artistically.
art is required and that GMPTE can be pioneers in
this.
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This process, though earnest, is fundamentally flawed and frequently
results in the lowest common denominator of what the work may have
been.

Iconic Public Art


The Angel of the North by Anthony Gormley at Gateshead is the
obvious contemporary example. It has been hailed as a great success and
is seen as ‘the Gateway to the North’. Many factors have happily
coincided to make this such a successful work. It works well because of
its location, its size and extreme lateral proportion and its clear, simple
but ambiguously interpretable sentiment.

There has been however, a number of subsequent commissions which


hoped to achieve the same glory with similar budgets and scale in mind.
These have all failed, most notably The B of the Bang in Manchester.
Commissioners, engineers, fabricators and artists all need to take
responsibility for the work - it’s a complicated, flawed process which
needs changing.

There may be one exception to this failure rate. The Dream, created by
Spanish artist Jaume Plensa in St Helens. Recently unveiled to great
acclaim even this has problems. The Highways Authority has not allowed
its light effects to be used in case it distracts drivers. The Dream was one
of nine projects commissioned as part of the Channel 4 Big Art Project.
Only two of these have been realised which once again highlights the
problems facing large iconic art. We believe that The Dream may well be
the last large-scale £1m plus artwork to be commissioned for some time.

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Site Specific Art Whilst appearing to tick the right boxes this work usually patronises the
Much clichéd work has resulted in trying to make an artwork relevant to public it is meant to serve.
a place. Often this results in very obvious references as seen in the
images below.

Nelson’s Column was seen as a great triumph for public art in its time, but it
often goes unnoticed today. In the near ground The Fourth Plinth points to a
different approach to public art with its changing exhibits.

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Community Based Public Art Expanding budgets for Public Art in recent years has lead to many artistic
A great deal of good work is done in this area, however, work achieved practices setting up to cater for this market often offering repeat
through community participation is often amongst the worst in the public formulaic solutions to placing art in the public domain.
domain.
Our strategy allows for a very genuine community involvement in
creating public art. Public Art needs to change and in fact is changing. The
boundaries between visual art and performance art are being crossed.

The reasons for engaging communities are sound and not in question. It
is the methods that are at fault. The confusion occurs somewhere
“The end of the line” (A brief encounter)
between the funding body, commissioner, artist and the community itself.
In the worst case the artist engages the community in providing either
the imagery or worse, actual drawings as typified by the laser cut steel For example, Network Rail’s commission “The End of the Line (A Brief
fencing incorporating drawings by local children. Here the participants Encounter)” transformed Piccadilly station for a day with specially
have not really engaged with the final piece and although for a while commissioned music from The RNCM performed by 200 musicians in
there maybe some satisfaction in the contribution, it is only token the station. The musical installation was about the anonymity of travel and
involvement. all those relationships that begin and end in railway stations. The piece

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alluded to the romance of travel and certainly touched the hearts of all
those travelling through Piccadilly station that day.

Jeremy Deller’s “Procession”

Although temporary it will be burned into the memories of travellers


for a long time to come and can exist in the many recordable formats
Street With A View
available today.

Jeremy Deller’s Procession along Manchester’s Deansgate is another Expression in Art


example, along with Gay Pride and many more events that involve Artists engaged to make an artwork in any artform should, as a priority,
communities taking to the streets. be given the chance to express themselves. This is why they have been
chosen. Art is a professional business, like any other. In site-specific work
Embracing 21st Centur y technology and oppor tunities, Ar tists its right that the artist familiarises themselves with the environment and
coordinated communities in Pittsburg’s Northside to take advantage of its people. The artist may wish to mirror that community and a good
Google’s StreetView camera cars. In collaboration with Streetview they dialogue can result in a complete surprise to the community but in that
curated ‘Street with a View’ - a series of community art interventions that surprise they can see themselves. Many public works are merely a
ranged from the community band, an 8 foot high replica chicken, to regurgitation of the dialogue which turns artist into a facilitator rather
street artists doing their thing. Lasting only hours in real-time it will live than creator. For art to be good the artists need freedom.
forever on StreetView. [http://www.streetwithaview.com/]
Our strategy aims to give communities the chance to express themselves
through artists without constraining the creativity of the artist. It also aims
to give communities a genuine opportunity to create art themselves in
parallel with professional artists.
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Art and Design
The strategy wishes to make a clear distinction between art and design.
Most strategies would recommend the introduction of permanent public
art in newly designed transport interchanges, stations and other new
buildings. The strategy recommends that any new building is an
opportunity to use innovative design which presents a strong identity and
is pleasant and safe to use.

“Good design is about function and aesthetics whereas


art is about self expression.”
“Artists are not necessarily good designers.”

“An artwork, no matter how good, cannot save a poor building”

Therefore the strategy recommends that the very best


international architects and designers are engaged for
this purpose and that the inclusion of an artwork is
unnecessary.

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THE STRATEGY

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Transported: The Rationale have all done this; but for how long? How long will it be before they all
Transported is the working title of the strategy. It fade into the background and become invisible and lose their resonance
and relevance?
combines the roles of public transpor t which
transports us physically and art which transports us Whilst constantly moving - the transport network, its roads, rails and
emotionally. tram lines - are all permanent. The majority of journeys made by the
people on the network are permanent. They make the same journey at
the same time on the same route on the same days as they always do.
GMPTE Arts Strategy suggests that a new approach to public art is
The experience can become repetitive and mundane.
required and that GMPTE can be pioneers in this. A new approach is
needed because the old approaches are jaded.
How would permanent art enhance this experience? Surprising,
challenging, entertaining and fun art interventions can transform this
The Strategy is a bold and innovative attempt to engage communities
experience, add a new dimension to both passengers and communities
and visitors with a radically new approach to arts in the public domain.
along the selected route(s). Permanent Public Art has its place but this is
not it.
It is not appropriate for GMPTE to commission international artists to
create iconic works with budgets of over £1M. This, as pointed out earlier
Also, the nature of the temporary and the permanent is also changing.
in this document, is a highly risky process that may give substance to the
The digital world brings into question the nature of both. TV shows were
art scheme internationally but patronises the public it is meant to serve.
once one-offs, never to be missed experiences, now they are recycled ad
It is a lazy “eggs in one basket” approach.
nauseam. There are channels dedicated to making the temporary
permanent. In an age of personal(ised) media production, distribution and
Equally, the site specific work and community art projects as previously
consumption, the one-off, the fleeting, the ephemeral can be captured,
described are also out-moded and no longer relevant.
re-used and re-interpreted and re-purposed. With the advent and uptake
of social media - the read/write web - it is not the product but the
In order to define the best approach we must look to our audience
conversation that matters. These conversations and this media is anything
which is quite clearly the passenger and potential passenger. The strategy
but permanent.
aims to bring new art to this audience, inspire them to create their own
art, and help them to curate art.
So the nature of movement, choice, collaboration and of art itself is
changing and can be expressed through the interaction between people,
The old approach has been to punctuate the urban landscape with ‘stuff ’
art and the network. The permanence of the network and the journey
- permanent works of ‘art’ - monumental pieces, historical markers that
will be challenged and changed through the introduction of temporary
remember ‘great’ people, events and identities. They aim to represent and
art.
re-present the past or hold out some imaginary future of places, spaces
and identities. Nelsons Column, Angel of the North and B of the Bang

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The Vision initiatives. By empowering passengers and communities in this way, new
As such, Transported will curate and commission only forms of art, new tools for engagement, debate, competition and choice
will be introduced to the network.
temporary works and interventions; unless or until
they are made permanent through public demand. The Strategy will work across all art forms and will take place on buses,
trams, bus stops, tram and train stations, at key community buildings and
Therefore, Transported will challenge the traditional understandings of spaces along those routes. It will be online and other forms of media. It
the temporary and the permanent, the commissioner and the audience, will be dynamic, interactive, seasonal, time specific and importantly, time
in the 21st Century: in art, in life, and on the transport network. specific. It will be delivered on vehicles, on the ground, on buildings, to
mobiles, message boards and online to your desktop.

Over a ten-year period Transported could become the


biggest interactive arts initiative in the world.
It will add a new dimension to public in Greater Manchester by
improving the passenger experience, increasing passenger numbers,
widening demographics and engaging with new audiences for all art
forms across the conurbation. With the right people, places and
investment Transported can elevate the standing of art and transport in
Greater Manchester at an international level.

This approach is entirely new in a number of ways:

It has no single site. Its linear nature takes in a number of diverging


communities and links each to the city centre. The act of creating art
together can be a powerfully cohesive force and in this case, every ethnic
Temporary public art can be large or small in scale
group or social class can have a voice and become involved in an
ambitious, ground breaking project. The Arts Strategy has entirely parallel
Transported will engage operators, regulators, local and regional
aims to the transport network itself. It transports people metaphorically
authorities, passengers and communities through new forms of
whilst the vehicle is doing the same physically.
communication, collaboration and (friendly) competition.
It involves professional artists and amateurs alike, but more importantly it
Artists, communities and passengers will be encouraged to produce,
gives ordinary people an insight into how art is created, how it can
interact and engage with complimentary community or individual
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change things and provides a genuine platform for involvement in the
creative process.

The Strategy gives GMPTE a Vision and working plan to deliver arts
projects throughout 10 local authorities over a 5 then 10 year period.

The essence of our strategy is “exploring the nature of


permanence through temporary artworks”.
Local arts and cultural organisations, artists, community groups, venues,
businesses, schools, clubs and societies will all be invited to take part.

Will people want to take part? There is no doubt about this.

People are becoming increasingly interested in the arts and creative


processes. Attendance at Art Galleries has increased significantly over the
last ten years. People are spending more time now interacting through
the internet rather than being docile in front of the TV. Small community
festivals are springing up across urban areas. Take for example the
Chorlton Festival, which a few years ago was a home grown, local affair
but is now attracting international artists and has a brochure that could
challenge The Brighton Festival. People want to take part. The strategy will
link into existing activity and incorporate aspect of this where
appropriate. It will engage and communicate to communities on their
own terms and through the media that they use.

Temporary art can be made permanent by public demand

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The Aims The Objectives
The aims of the strategy reflect those of the partners and stakeholders in To achieve this GMPTE and partners will:
the network - the passengers, operators, regulators, Arts Council, local
and regional authorities. They resonate with GMPTE’s core objectives and • Develop a 5 year Strategy with a ten year vision.
will enhance the cultural identity of the ten boroughs across the world. • Invest in the delivery of the strategy over the next five years
with a view to implementing a 10 year vision.
They also challenge artists to develop new ways or working that engage • Create a distinctive cultural identity for the transport network
passengers and communities using new tools, techniques and of Greater Manchester so that it gains recognition locally,
technologies. nationally and internationally.
• Commission innovative Art and Artists from the UK and
The aims are to: overseas to produce engaging, collaborative work that explores
the nature of the temporary and the permanent in the 21st
• Improve the passenger transport experience. Century.
• Increase the number of passenger journeys. • Identify funding streams from a range of public, private and third
• Have a positive impact on the environment. sector sources to ensure the art, the artists and the
• Enhance par tnership working along strategic transpor t improvements to the network are sustained.
corridors. • Broker partnerships with operators, cultural organisations,
• Contribute to area regeneration and economic performance of community groups, local authorities, business sponsors and
the city. regulators to add value to other investments in and around the
• Use Art to engage with new and existing audiences in new route.
ways. • Inspire the traveling public to participate in, engage with, be
• Link with and add value to existing cultural venues and entertained and moved by all art forms on the network.
programmes.
• Provide the world’s best Artists the opportunity to produce
innovative, inspiring work and working practices in GM.
• Increase the reputation of Manchester nationally and
internationally as the Original Modern City.

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Transported: The Plan social media; the latter taking a central role in the production, distribution,
The transport network is ‘the great connector’. It connects the people of consumption and consumer engagement.
Greater Manchester to each other, and with the city. It connects the city
to the rest of the country, to mainland Europe and to the world. The Each commission will be relatively low budget with a view to some
Strategy will enhance and develop those connections using the arts to works being developed as permanent artworks, the project itself serving
connect people to places and places to people; enable a conversation as ongoing consultation with passengers and communities.
between artists, communities and communities to each other here,
nationally and overseas.

Transported will identify a linear series of artworks along Bus, Tram and
Train routes; these will be audible and visible on or from the bus, trams
and trains. These works will involve community participation and will be
led by artists. Other works by professional artists will punctuate the
route and serve as inspiration for visitors, passengers and communities.

It will be an annual 365-day Route Festival and each


year it will rotate around the city like hands on a clock
to eventually include all 10 local authorities.
To take advantage of new capital developments and Station
Improvements, route and line developments, linked taster initiatives will
take place outside of the festival route at any given time. These initiatives
will act to stimulate demand for a route festival in future years. We will
develop a ‘ Toolkit for Site Specific Work’ to ensure the fit with the wider Local arts organisations, community groups, venues, businesses, schools,
strategy. This will include guide for brief development, artist recruitment, clubs and societies will all be invited to take part.
public engagement and interactivity. Art works may include visual art, poetry, music, electronic interactive art
using mobile phone and mapping technology, performance art in spaces
Operators and partners will donate unused space on vehicles, key sites and venues along the route.
and other strategic assets. A curator will be appointed on an annual or
biannual basis. Artists will suggest or compete for sites, spaces and other The best of these would be presented on the 5th Plinth, sited at the
opportunities. Programme managers will co-ordinate a range of Transport interchange in Piccadilly Gardens in Manchester city centre, the
surprising and complimentary work. They will also manage the nexus for many radial routes in the city.
communications, technology and interactivity through traditional and
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Interactivity and choice The final piece to be commissioned would act as a legacy to the one
The people’s choice year route festival, and its success assured because of the long period of
As part of the 3-year pilot we would like to experiment with members time for consideration.
of the public becoming the curators of part of the route. This is inline
with the grass-roots nature of the project. We see this as a separately Online public voting could be included as a method of choice however it
funded project which aims to build capacity within communities and the is important that the final say be given to professionals.
staff involved in the public transport sector.
Interactivity
Members of the community, operators, staff at GMPTE and trade union The temporary and mobile mean that people can interact via their
representatives would take part in an online training course – Curator mobile phones, blue-tooth, online at home - even international. These
On-Line or Virtual Curator. The course and toolkit would be created by might be screens, projections, interactions manifested in some other way
professional curators and would take the form of an internet other than an object. Urban screens now regularly do this. These can
correspondence course with occasional face to face or live sessions.

From this we would hope to form a


curatorial team who will have had a good
grounding in the principles of curation.
Throughout the year the team would
familiarise themselves with the artwork on
show throughout the route and would
endeavor to commission one permanent
work which somehow represents the whole
route.

This might mean working out how to make


one of the works permanent, or it could
mean choosing one of the artists involved to
make a new work. Choosing the right site
for this work will also be part of it. The group
would be supported by mentor curators and the final decision would be
approved by the Executive Group (please refer to the Arts Strategy
Governance Diagram).

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make use of permanent screens in the city centre, temporary screens en-
route, projections onto the sides of buildings or information boards on
the transport network.

Following on from this - one of the things about contemporary urban


systems (and transport is the key definition of such) is that they throw
up lots of information about themselves which - like fumes - disappear
into the ether. One of the growing kinds of intervention here is the
visualisation of this information - which tends to be statistical stuff which
nevertheless expresses collective effects/ choices/ patterns inaccessible to
the normal travelers vision. This can act as a palette for artists and be
translated into exciting visual representations and can also be used to
guide choice.

An example of this is the electricity usage projected onto the smoke


coming out of the generator in Helsinki. That is, some of this artwork can
actually use the mobile and effervescent information material produced
by people and systems themselves. But it is not physical, though it could
be both temporary and permanent.

Elements like this can establish innovative forms of public engagement


and should be included in order to extend the idea of participation i.e.
not just voting or some such but the material information created by the
travelers themselves.

An environmental artwork awarded a Golden Nica by Prix Ars Electronica in


which a laser projection illuminates a cloud of vapour emissions produced by
a power plant in Helsinki. The shape of the laser image follows a thermal
image of the emissions, visualising the amount of heat emitted whilst the size
of the projection makes visible power consumption in the local area. In
partnership with the city and power generators it helps make visible complex
facts about the environment.

Helen Evans and Heiko Hansen

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Technical Support
It is essential that any structure or object placed
in the public realm should be safe and durable
for the period in question. We would suggest
therefore that a structural engineer is appointed
to check specifications, methods and risks and
where necessary provide calculations and risk
assessments.

No community group or freelance artist would


be exempt from this process and as such all the
indemnity would be carried by the engineer.
Added to this there may be other technical
professionals involved in a technical support
team. This group could also be referred to for
general advice.

Access and Disability


We intend to make the art project accessible to all not
only on consuming the art but also where appropriate The Pilot
helping to create it. As the project is innovative and untried it was suggested by a number of
people at the forum and elsewhere that before the full strategy is rolled
We are consulting with Manchester Disability Access Group and will be out, a pilot, or R & D stage is undertaken. It needs to be a learning
inviting a representative from the group to advise us. United Response is experience for all parties - Project Managers, GMPTE, ACE:NW,
also a new group which helps people with learning difficulties. They Operators, regulators and passengers.
organised a group to take part in The Pride march, Manchester 09.
We suggest therefore that the 10 year programme undergoes a 3 year R
& D phase - where processes, products and projects are developed,
evaluated and improved. During this period, key elements such as
budget, funding, curation, themes, sites, spaces, media, marketing and
public engagement are tested, assessed, improved and delivered.

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After this period the best processes, products and projects will be in • The Route itself should run through and connect with more
place; the ideal type of governance and evaluation framework will be in than one local authority. Those Local Authorities should tacitly
place; a forward business plan will have been tested; and, most support the initiative with staff time and funding possibly
importantly, the evidence of impact of the programme on the network, sourced from Local and Multi-Area Agreements. .
operators and passengers will be known. • Local Passenger and Community Groups need to be consulted
to gain their tacit agreement and commitment to the project.
There will need to be further resources secured before this strategy can • Planning, Highways and other regulatory bodies should be
be turned into policy and that policy into action. To fulfill the ambitions of consulted and their tacit agreement secured.
this strategy, both internal and external project management resources • Arts Council, GMPTE and other potential funders should be
need to be secured for the first year and for the subsequent two years. fully committed to the project and be able to indicate funding
and offer support.
Year One Pilot • A sponsorship Framework needs to be developed and scoped.
Project Managers and a Curator need to be appointed for the first year
with an option to be retained for a further two years. There is a Principles of each Transported Project should be common. These are:
significant amount of work to be undertaken to a) Identify and secure
specific funding opportunities; b) consolidate the partnership of • Each work of art should be ‘temporary’ but have the ability to
Operators, Community and Cultural Organisations, Local Authorities, be made ‘permanent’ though public demand.
regulators and funders, c) recruit curators, ar tists, d) develop • Each initiative should be produced and reproduced in a physical
competitions and the on-line infrastructure. or virtual space.
• Each piece needs to build in active public engagement methods
Friendly competition is embedded at the heart of this strategy and in - online voting; interactive drama, reflection, discussion,
subsequent years operators, local authorities and communities should be openness, critical debate.
invited to compete for the honour of having Transported transform their
bus, train and tram route. However, the first route should be chosen by A number of Themes should be developed by the Steering Group but
the Executive Group and delivered by the previously appointed Project these could include:
Managers and Curator.
• Innovation
This project aims to connect communities along a linear bus, train and/or • Digital Technology
tram route and to trail blaze at strategic sites connected to major capital • Music
projects. The criteria for this should be clear and simple. • Movement
• People
• As this project will attract more customers and considerable PR • Places
for the company, the route operator has to support and commit • Time
staff time, and funding into the project.
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The rationale for themes could also be subject of competition from new dynamic relationships between regulators, operators, passengers and
curators and artists. communities.

There needs to be an online line hub for the communication and It will need curating and those curators should be temporary. It will need
delivery of much of this work. This could work with PLINGS or Ding a Advisory Board acting as custodians of the vision and it will need
Ding or indeed with the main GMPTE site. Further work needs to be careful Project Management year-on-year.
undertaken to scope these options.
The Project Managers need to secure funding, recruit one or more
Route Options Curators for the route. they then, in turn would be responsible for
The 59, which travels through 5 local authorities, is a possible first route. recruitment of artists and the artists responsible for the engagement with
The route take 90 minutes to travel the full length starting in the city communities.
centre, out through Cheetham Hill, Crumpsall, Middleton, Mills Hill,
Chadderton, Oldham, Heyside, Shaw and Rushcroft. The route can be The Programme needs to engage passengers and residents in a range of
viewed at Appendix III. communities along the way. The routes meander from sedate affluent
suburb to inner city urban mettle and finally the city centre itself. Those
Another option would be the 22 route which travels from Stockport, communities will have different wants and needs, different demographics
through Heaton Moor and Heaton Norris, Burnage, Chorlton, Stretford, different opportunities and challenges. The diversity of the routes and the
Urmston, The Trafford Centre, Eccles, Monton, Swinton, Pendlebury, communities along them should not be underestimated.
Farnworth and on to Bolton. The route can be viewed at Appendix IV. The project will be driven and punctuated by experimental professional
art, will involve all art forms and will encourage active participation from
The current extension to the Metrolink could also be included for local people and travelers alike.
consideration. A map of the current and proposed routes are shown at
Appendix V. At its heart it will embrace competition, collaboration and public
engagement. It will drive a public debate. It will deliver outcomes across
The Process education, innovation regeneration and audience development. It will
The Vision is that all art commissioned for the network should be engage media partners to challenge and stimulate a public art debate.
temporary unless it is made permanent by popular demand. And it will be popular, tapping into the zeitgeist to give communities an
opportunity to adopt and make permanent the temporary interventions
This is an ambitious project that will involve artists, communities, that artists and communities make.
operating companies, regulators, public and private sector partners.

It will need investment but will also establish opportunities for income
generation. It will embrace both competition and collaboration creating

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The Art Strategy Governance Diagram

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Governance will also liaise closely with GMPTE Community, Education and Marketing
The Steering Group departments and undertake some marketing and PR functions.
This group would be made up of representatives of GMPTE, ITA,
Operators, regulators such as the Highways Authority, Local Authority Curator
representation and funders such as ACE. Their role would be to guide The Curator will take overall charge of the Artistic Director and content
future direction and investment, approve proposals emerging for the of the Programme. They will work closely with the Executive Group and
route festival and to guide the Executive Panel were necessary. This group the Project Manager to ensure the highest possible Artistic quality and
is will meet quarterly and could be chaired by a member of the ITA. community Engagement along the route. Other duties will include: Artist
Recruitment and Liaison; Community Liaison and Capacity Building; PR
The Executive Panel and Marketing Opportunities. As with the Project Management this will
This will be the key decision making group that will include GMPTE be reviewed by the client towards the end of year one.
representatives from Strategy, Marketing and Community Engagement
together with the lead curator and project manager. There will also be Technical Support
representatives from the Technical and Community Panels. This group will A structural engineer will need to be retained to check specifications,
meet monthly. methods and risks and where necessary provide calculations and risk
assessments. No community group or freelance artist would be exempt
Project Management from this process and as such all the indemnity would be carried by the
For the first year at least the project should be managed by a person or engineer.  Added to this there may be other technical professionals
organisation working closely with the Curator and the client. As involved in a technical support team. This group could also be referred to
custodians of the vision and action plan they will be responsible for a for general advice. They may be required to inform decisions made by
range of key tasks that will be critical to the successful development and the Executive Group and Steering Group.
implementation of the strategy. These include driving a 6 month
Development Phase where commitments outlined during the research Community Liaison Panel
for the strategy are firmed up with stakeholders and funders. This phase This group will be drawn from passenger groups and representative
will follow the adoption of the strategy and will be critical to making it community organisations along the chosen route. During the course of
happen. They will Project Manage the Implementation for the next 12 the programme they will undertake a capacity building course with tools
months, after which this will be reviewed. The Project Managers will also provided online. This will enable them to better understand the artistic
under take evaluation of the project and processes and make and curatorial process enabling them to make more informed decisions
recommendations for the delivery of the project for year 2-3. about the artworks on the route and any legacy pieces that may be
made permanent.
Other tasks will include: Fund Raising, Capacity Building across GMPTE
and Partners; Partnership Management; Competitions; Online and PR and Marketing
Technical Management of the Pilot Programme. As with the curator, they The Implementation of the programme will have significant impact upon
the numbers of passengers and quality of experience on the chosen
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route. There will be considerable positive marketing and PR Newcastle has a budget of around £300 annually.
opportunities and the delivery of this strategy should be central to the
PR and Marketing Functions of GMPTE both internally and externally. Based on these figures, Greater Manchester Transport Network should
aim for an annual budget of around £500k.
Funding
Given that this project is innovative and original in its conception,
development and implementation, the funding for this initiative should INDICATIVE ACTION PLAN (to be developed)
follow suit. Transported offers the opportunity for an original and
modern funding and revenue model to be constructed. It will of course 1) Public Consultation - Draft Strategy out to consultation public
depend upon some traditional funding sources but these should be consultation. Feedback and comments incorporated.
supplemented by a commercially focusses sponsorship and revenue 2) Final Strategy Submitted (Nov 2009)
development plan. Where possible, and working with the project 3) Development Funding applied for.
managers, communities should be encouraged to develop and take 4) Strategy Approved and Adopted (end 2009)
advantage of community funding opportunities. 5) Programme Development - Partnership and funding development,
Route Selection, Process and Governance Confirmed. Key Staff
Public and Private Funding Sources include: aligned; Capacity Building in GMPTE and Partners. Artist recruitment.
Online Hub. Ongoing Partnership Liaison (March 2010 - Sept 2010)
• Arts Council England funding 6) Pilot Programme Implementation (Jan 2011 - Dec 2011))
• Business sponsorship  7) Jan 2012- Dec 2012 - Programme Roll-out and Evaluation
• EU funding 8) Jan 2013 - Dec 2020 - Programme Expansion and Legacy.
• Lottery funding
• Trusts and foundations

Sustainability would also come from regular sales and auctions of


temporary works. Works can also be re-commissioned by galleries and
public art bodies.A new commissioning contract can be developed
where ownership of the work can be shared by the artist, the
community and commissioning body.

Platform for Art in London has a core budget of £500k per annum
supported by a ‘substantial annual grant’ from the Arts Council
depending upon the project.

Birmingham Metro has a annual Budget of c£500k per annum.


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APPENDICES

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APPENDIX I - LAA’s and MAAs A multi-area agreement is designed to be cross-boundary local area
agreement (LAA). They bring together key players in flexible ways to
Local Area Agreements (LAAs) set out the priorities for a local area tackle issues that are best addressed in partnership – at a regional and
agreed between central government and a local area (the local authority sub-regional level.
and Local Strategic Partnership) and other key partners at the local level.
The major issues that MAAs can tackle include:
LAAs simplify some central funding, help join up public services more
effectively and allow greater flexibility for local solutions to local * skills deficits
circumstances. * housing market imbalances
* transport and infrastructure projects
Through these means, LAAs are helping to devolve decision making, * economic development.
move away from a 'Whitehall knows best' philosophy and reduce
bureaucracy. MAAs complement and do not duplicate the work of existing LAAs, the
new performance framework or existing regional strategies. You do not
LAAs are about what sort of place you want to live in. They set out the need a MAA where existing sub-regional partnerships are sufficient. The
local priorities that will make your town, city or community a better place wider spatial level can include partners across towns, cities or sub-
to be; they have been negotiated between all the main public sector regions.
organisations in your area, your local authority and central Government.
The ideas behind them are to: MAAs are similar to LAAs in that strategic partners across boundaries
can agree targets and pooling of funding arrangements with their
* recognise that 'one size does not fit all' and local services should government office (GO). There is a particular attraction to aligning rather
reflect what local people want; than pooling funding at MAA level to ensure control of spending.
* give more flexibility to local authorities and other public sector
organisations in the ways they deliver services for local people; MAAs need:
* make local authorities and other public services more accountable
to local people; * robust governance arrangements
* reduce red-tape and improve value for money; and, * visible political leadership
* enable local people to get more involved in decisions about local * streamlined performance and accountability framework.
services.
Each MAA needs to be localised and respond to circumstances specific
to its area. No two MAAs will or should look the same.
What are multi-area agreements? Where do MAAs come from?

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MAAs were first mentioned in the Local Government White Paper
(October 2006), referring to developing strong cities and strategic
regions. The concept is not so new however. Much of the city regions
work involved local authorities and local strategic partnerships working
together across existing administrative boundaries.
What next?

Since the publication of the white paper, Communities and Local


Government (CLG) has been talking to a number of local authorities to
develop guidance on MAAs. The guidance will provide advice and
suggestions for a flexible approach. The guidance will also need to
consider how MAAs will fit alongside LAAs.

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APPENDIX II - List of Stakeholders Stagecoach Mark Threapleton Director (Represents Greater
Manchester Bus Operators
Org Name Title Association as well as
GMPTE Adam Goulcher Acting Director of Strategy Stagecoach)
First Andy Scholey Managing Director
GMPTE Paul Griffiths Interim Director of Projects
Manchester
GMPTE Philip Purdy Metrolink Director Northern Rail Mark Barker Client and Stakeholder Manager
GMPTE Michael Renshaw Interim Service Deliverer First North Louise Ebbs Strategic Planning Manager
GMPTE John Barbour Corporate Communications Western
GMPTE Sam Dada Project Manager Infrastructure
GMPTE Gill Heyworth Project Manager Project Metrolink Cheryl Hubbard Head of Public Affairs
Development Network Rail Keith Lumley
GMPTE Steve Magna Rail Partnership Development BBC Alan Yentob
Officer Manchester
GMITA Councillor John Dillon Oldham Lib Dem ITV Jane Luca Head of Regional Affairs
GMITA Councillor Dylan Butt Trafford Conservative Group Media City Paul Newman
GMITA Councillor Eunice Smethurst Wigan Trafford
Manchester Virginia Tandy Director of Culture Centre
City Council
Manchester Lyn Barbour Head of Cultural Strategy Marketing Helen Palmer
City Council Manchester
ACE NW Aileen McEvoy Acting CEO CityCo Gordon Reid Chief Executive
NWDA James Beresford Manchester Bob Longworth Ground Transport Manager
NWDA Iain Bennett Airport
Creative Nancy Barratt Manchester Russell Craig Head of Airport Comms
Partnerships Airport
Highways
NWUA David Briggs Authority
JC Decaux Eric Spink Regional Operations Manager
AGMA AOG and CLOG T and G

Arriva Mr P Stone Chamber of


Commerce

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APPENDIX III - 59 Bus Route

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APPENDIX IV - 22 Bus Route

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APPENDIX V - Current & Future Metrolink Routes

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APPENDIX VI - Research Method Strategy for Docklands Light Railway, which again draws funding from
Methodology operators, regulators, business and art funding bodies.
At the outset of the project The White Room and Liam Curtin set out
the exact parameters at a project initiation meeting. This allowed us to In addition to these UK examples, we reviewed strategy, projects, funding
draw up a detailed methodology to guide the direction of the research. and work in other leading cities including Helsinki, Frankfurt, Shanghai,
Melbourne and Boston. These are just a few examples from across
1. Online Hub/Forum Europe and the rest of the world of how public art, and strategically
The first step was to ensure that all our research, ideas and suggestions applied design, can be employed on transport networks to improve the
were made as inclusive and open as possible through an online forum. experience for users, increase passenger numbers and provide a ready
This was set up through the Tumblr blogging site that allows people to platform for engagement for the arts with the traveling public. It is this
post their ideas and comments onto a rolling blog. This is available to evidence of best practice that has informed our analysis for the
view at http://gmptearts.tumblr.com. On this we posted emerging themes development of an innovative strategy for the network in GM.
and ideas and began a dialogue with passenger groups and
representatives. Traffic on this site has increased significantly since the It is no coincidence that these cities have developed innovative arts
consultation event and since the briefing note has been circulated. This strategies alongside investment into their infrastructure and that art,
online platform will be used for on-going consultation on the Draft technology and transport can combine to significantly improve the
Strategy. passenger transport experience. If Manchester wishes to take its place
alongside these other innovative cities, it needs to invest strategically.
Secondary Research
Whilst this strategy has been developed uniquely for GM and its 3. Primary Research
transport network, there are a number of lessons that can be learnt from Informed by the secondary research, The White Room and Liam Curtin
other cities in the UK and the rest of the world. set out to conduct an ambitious series of stakeholder interviews. The list
of stakeholders consulted numbered over 35 and was made up of
In the UK, Nexus ‘Art on Transport’ programme in Newcastle-upon- operators, regulators, passenger groups, artists and political leaders. The
Tyne, together with Transport for London’s (TfL) ‘Art on the full list can be seen at Appendix II.
Underground’ programme are notable for their consistent investment
and the quality of the work they produce. Nexus has been producing There was near universal suppor t for the Ar ts Strategy and
work for over 30 years and has helped the network establish a strong encouragement, especially from the operators - Metrolink, Stagecoach,
identity. Art of the Underground has helped develop some ground First - for a more strategic, long term vision and investment. All the
breaking world class work across different mediums. The latter is firmly operators support the arts in some way, whether it be to engage with
embedded within TfL’s marketing department, receiving significant annual communities on new routes, to publicise new routes or as part of their
funding from them and from the Arts Council. Recently this has been corporate social responsibility.
complemented by the development and implementation of an Art
They will all be willing partners in the delivery of the strategy.
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4. Consultation Forum so much creativity. This collective thinking will be an essential part to the
Towards the end of the primary research stage The White Room strategy as well as to the various groups illustrated in the Arts Strategy
organised a consultation event with GMPTE to test some of the Governance Diagram.
emerging ideas. All previous consulted stakeholders, together with
representatives from local authorities and a range of artists from different Artists and curators talked about how an artist’s vision can stimulate new
disciplines, converged to discuss and flesh out issues and opportunities ways of seeing and responding to the world. The artist creates a kind of
presented by our emerging ideas. mischief that reinterprets our environment and challenges attitudes. Ideas
ranged from performance art on buses at low peak times to interactive
electronic art which actually engaged travelers.
The forum was introduced by Cllr Keith Whitmore, Chair of GMITA. The rationale, challenges and opportunities for Transported, were
Presentations from Liam Curtin and Andy Lovatt were followed by a universally welcomed, encouraged and developed and have gone along
panel discussion, chaired by Phil Korbel from Radio Regen and the Local way to shaping this strategy. Our thanks to all participants.
Strategic Partnership. The Panel consisted of Adam Goulcher and
Beverley Gallier from GMPTE; Ann Tucker from Streets Ahead, Diane 5. Analysis and Evaluation
Hamilton from the Irwell Sculpture Trail and Simon Grennan, international The evidence and opinion expressed by all those involved in this process
artist. has been invaluable. Indeed the process itself has been as equally valid as
the end product - the Strategy. The process has developed a momentum
The afternoon consisted of a number of workshops where planners, and a significant degree of creative excitement amongst all those
regulators and artists mingled to discuss some of the challenges and involved. It is our job to analyse that evidence against the ambitions of
opportunities presented by Transported. These groups produced a the brief and all partners concerned.
number of creative solutions and possibilities that we will endeavor to
include in this strategy.
Transported is the result of that process.
This event was essential if the radical approach being developed was to
gain validity across a range of stakeholders and partners. It was rare to
get so many different professional disciplines in the same room at the
same time.

The forum was a surprisingly refreshing experience with so many


disciplines finding agreement. There were many comments that
supported the ethos of the draft strategy. The need to be experimental
in the early stages of implementation in order to establish a new
approach to public art was emphasised not just by the artists but also by
other parties. One operator said that he had never been in a room with
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