the introduction issue

intro-duction

issue

the

black and white towns

outline

the british art show

to print or not to print?

about us

join us

Pamela on the advantages and disadvantages of living in Portsmouth Plymouth.

Our plans for Nom de Strip laid bare.

So, we’re sure you’ve all heard: a comet is coming.

That is the question. Our answer?...

Introducing Pamela, William, the other William and James.

What to do if you like what you see.

noM de s t r ip - t he in t r oduc t ion i s s ue2

Thankyou, from the Nom de Strip team, to everyone who has given us the confidence,

inspiration and advice to make this magazine a reality. You know who you are.

Co-director/ Art DirectorWilliam Rupert Hibberd

Founder/Production AssistantWilliam Lenord Amery

4 610111214

Photography by;Josh GreetTom CarterDom Moore

©Nom de StripIndividual artists retain the copyright to their work. Permission must be sought before reproducing any part of this magazine via the appropriate copyright holder.

Support/MentorJames Pascoe

Co-director/EditorPamela Peter-Agbia

noM de s t r ip - t he in t r oduc t ion i s s ue 3

Like many creative ventures, Nom de Strip was born out of frustration. It’s the brainchild of three graduates, who in 2010, over ambitious and underemployed, asked the question: How do we survive in a city like Plymouth?

We wanted some answers for ourselves, and those like us, finding a lack of opportunities for professional development. We thought about the qualities Plymouth has, and could have, to attract people to the city, whilst retaining those already here. We also sought to develop and take advantage of existing opportunities where we live, rather than constantly feeling like we would be better off elsewhere. We decided, in the end, that in a city like Plymouth, there are as many opportunities as we can create for ourselves.

So Nom de Strip has been set up to inform people about Plymouth’s cultural landscape, with a special focus on the promotion of culture across the arts, regeneration and creative entrepreneurship outside of the mainstream. We explore, express, connect and communicate ideas, initiatives and opportunities to attract people to the city, as well as retain those who are already here.

Our emphasis is on doing stuff. We’re a platform for people across the city and beyond to network with purpose and actively develop Plymouth’s cultural scene. We are an outlet; a curated canvas for people to show and tell others what they are doing. Nom de Strip is a catalyst for useful conversations, networks and relationships that enable Plymouth’s cultural scene to thrive.

We are Nom de Strip,

a magazine focused on Plymouth Arts & Culture.

Welcome to the Introduction Issue, in which

we, errr, introduce ourselves to you.

noM de s t r ip

A type of alias, pseudonym or alter ego assumed

to conceal one identity, and reveal another.{ }

hello


How’s Portsmouth?Plymouth.

What?I lIve In Plymouth,

yeah It’s good.Oh, you live in Plymouth?

yes.Really?!

yes!Why?

black & white towns

There are two ways to answer this question: you can get defensive, and take an innocent enquiry very personally. Something like, ‘Um, a world does exist outside of London!!!’ will do. Or you can get all new age and philosophical about it and tell a

long drawn out fable which ends in, ‘So I didn’t choose Plymouth, Plymouth chose me’. Of course, both are true, but I tend to go for the fable because, to my own shame, I only had a vague grasp of where Plymouth was before I took a job here. I

guess I thought it would be interesting and potentially fun to live somewhere completely random and unknown.

Nine months later, I have come to know the city quite well. It seems that, just like me, a lot of people ‘end up here’, washed up at sea by a wave of serendipity. My opinion of Plymouth, I imagine, isn’t much different to anyone else’s either. It’s alright.

t he Good, t he b a d a nd union s t r ee t

Plymouth is ok. I could say less or more, depending on which day it is, what time it is, where I am or who I’m with. My day-to-day opinions are polarised because the city changes - from good, to bad, to ugly, and right back to good again - on an almost daily basis. When you take all of that into account, you get ‘alright’ and ‘OK’.

Plymouth reminds me of the much derived book, ‘Crap Towns’ - a humorous guide to the 50 worst places in Britain. Readers write short pieces on awful places they know and despise, ‘from the dull and the lifeless to the ugly and the depressing, no concrete monstrosity or phoney heritage centre is left untouched’, apparently. Take, for example, this passionate critique from a former disillusioned resident of Spennymoor, a town so hopelessly crap you didn’t even know it existed:

‘This town is just so bad, I’d rather have my testicles deep fried whilst still attached to my body

than ever have to go there again’. Shocking.

To be fair, Plymouth has never actually featured in the book, unlike ‘low level concrete disaster’ Plymstock. But, to the city’s own admittance, it bares some similar traits to many of the crap towns that did make the cut. A lot of Plymouth is deprived and tired looking - I’m talking about you, Union Street - aspirations are low, unemployment is high, resources are stretched and the good things that do happen are often too few and fragmented to have a significant impact. These points are taken from Plymouth City Council’s ‘Vital Spark’ initiative, which sets out the role of culture as a key driver in Plymouth’s development plans.

On the other hand, we have some of the most beautiful natural landscapes and seascapes in the country on our proverbial doorstep. Walking around the Barbican or the Hoe, it’s easy to see why tourists flock here every year. Oh, and rent is cheap. Generally, the cost of living isn’t bad, it’s a shame opportunities to make a living in the first place are.

s l uM cult ur e

It’s good to see that investment in culture has been listed as a priority growth area for the city. Initiatives like ‘Positively Plymouth’ - the city’s new marketing brand - are, um, very positive. However, if culture really is at the forefront of development plans, shouldn’t we invest more in people who create culture on the ground? Shouldn’t we develop people who will make things happen tomorrow, today?

Plymouth has a rich yet hidden subterranean arts scene. The exciting stuff is underground and, unfortunately, unexposed. Good ideas and initiatives miss out on the development and resources required to make them great, because people simply don’t know they exist. A recent graduate and friend of mine described Plymouth as something of a slum for the arts, which sounds extreme. Trying to make a career as an artist in any city isn’t easy, however, let’s think about what a slum actually is: an area characterized by lack of opportunity and security. That is the experience of a lot of people trying to make it in the creative sector here.

I’m lucky to have gained an elusive paid internship at the lovely Barbican Theatre, which has offered real industry experience, plenty of opportunities and a little financial security, but I know I’m in the minority, so I can empathise. It seems there’s a massive gap, or a glass ceiling between those at the top, who are firmly established in their careers and those at the bottom, who are just starting out. The result? A mass jumping of the ship, the great artist exodus that happens as creative talent flocks to where the work is. It’s a huge loss; a brain drain of the essential talent, skills and qualifications Plymouth needs to make sure this vital spark actually happens.

At this potential tipping point for culture in Plymouth, it would be interesting to see what we can learn from other cities that have successfully redeveloped themselves through their creative economies. Places like Glasgow, Salford, Liverpool, Edinburgh, Berlin and Barcelona have cultivated environments that identify, nurture, attract and sustain creative talent. We can also learn for ourselves about what’s already here.

bl a ck a nd w hi t e t o w n s

Plymouth also reminds me of a Radio 4 programme called ‘Black & White Towns’. Broadcaster and Journalist, John Harris talks about the influence of suburbs and provincial towns in producing some of Britain’s greatest art, in this case, music.

In Swindon, he meets Andy Partridge of the seminal band XTC, who insists that living in a place that ‘drives him mad’ spurs on his creative fires. In Colchester, he delves into the experiences of Britpop pioneers, Blur and their former lives in a hum drum town. In the unexpected rock hotbed that is Bromley, he tells the stories of two former local suburbanites called David Bowie and Siouxsie Sioux.

As the second largest city in the Southwest, Plymouth is far from provincial town status. But, listening to the interviews, an essential point emerges, which does apply to us: that far from the large and established creative hubs of the UK, a lot of Britain’s greatest art - and artists - have been made. Something about these landscapes has inspired people to create work from adversity, not in spite of it.

We’re nowhere near London, Manchester or Glasgow, but far from letting geographical or economic disadvantages limit and stifle our expectations, we can kick against our surroundings and draw inspiration from them. We can make the most of what Plymouth is and what it isn’t and we can fashion for ourselves an environment where we not only survive, but also thrive.

nb

Vital Spark: plymouth.gov.uk/vitalspark.htmlPositively Plymouth: positivelyplymouth.co.uk

Crap Towns: idler.co.uk/category/crap-towns



outlineHow do we survive in plymouth?

w ho a r e w e ?

t he p r obl eM ?

our oF F e r

Students, recent graduates or emerging artists. We want to establish ourselves in Plymouth’s creative and cultural landscape. We want

to promote ourselves, as well as find out what others in the city are doing.

Cultural enthusiasts who live outside of Plymouth. We want a reason to come to the city and a fast and easy way to find out what’s going on when we’re here.

Cultural organisations, restaurants, bars and shops. We want to promote our work, event, product or offer to wider audiences in the Plymouth and beyond.

A university or college. We want to prepare our students for life after college by supporting opportunities to

gain work experience and develop connections with Plymouth’s cultural scene.

Lack of information

There are limited opportunities for people to find out about Plymouth’s cultural scene. No publication or media outlet currently exists to exclusively inform people about arts and

culture in Plymouth. Emerging work, ideas and initiatives often go unnoticed and undocumented

by mainstream media, missing out on the promotion and audiences they deserve.

Lack of platform

There are limited opportunities for individuals and organisations to explore, express, connect and communicate ideas, opportunities and opinions to a wide yet targeted audience; to discuss, debate and resolve issues that affect the city together.

Lack of development

There are limited opportunities to meet and showcase work, ideas and initiatives to new audiences across the arts on a regular

basis. Individuals and organisations are often unaware of how to help others outside of their own profession or niche,

missing out on opportunities to collaborate on projects of shared interest.

The Magazine

Nom de Strip: a well written, well designed and well produced bi-monthly

publication. Content is carefully curated and sourced from the city’s best writers,

academics, photographers, artists and designers; they write about issues of shared

interest. We also offer opportunities for emerging creatives to contribute to all

aspects of producing the magazine.

Our distribution networks are carefully selected, you will find Nom de Strip in

the places where you live, play and work: Plymouth’s key cultural organisations, retail

outlets, record stores, galleries, bars and cafes. We connect people, spaces and places using Nom de Strip as a physical presence

and brand that binds together a community.

Hob Nob Events

Nom de Strip: a hub for arts and culture in Plymouth, using venues all over the city. We

put on regular informal networking events for people across the arts and city to meet each other. These range from individual

consultations, to hosted or curated exhibitions, club nights, gigs and charity events.

Online Presence

Nom de Strip: an online presence to promote Plymouth arts and culture to a wider

audience. Our website features regularly updated information including content from

previous issues of the magazine, as well as rich media produced by Plymouth based artists.

Again, this content is carefully curated.

Our interactive art map is a useful tool for people in and outside of the city to find

organisations and individuals that make up Plymouth’s cultural landscape. We use social

media to offer real-time news updates and collate information on themes of community

interest that engage our readers in debate and inspire cultural activity. Our email newsletters are targeted marketing tools, used to promote

special events, offers and information.

Inform. Platform. Develop

Nom de Strip has been set up to inform people about Plymouth’s cultural landscape, with a special focus on the promotion of culture across the arts, regeneration and creative entrepreneurship outside of the mainstream. We explore, express, connect and

communicate ideas, initiatives and opportunities to attract people to the city, as well as retain those who are already here.

Our emphasis is on doing stuff. We’re a platform for people across the city and beyond to network with purpose and actively develop Plymouth’s cultural scene. We are an outlet; a curated canvas for people to show and tell others what they are doing. Nom de

Strip is a catalyst for useful conversations, networks and relationships that enable Plymouth’s cultural scene to thrive.


w h at i s i t ?

The British Art Show is a landmark exhibition, known for defining current trends and new directions in contemporary British art. Only taking place every five years, this year’s exhibition serves a round up and overview of contemporary art made between 2005 and 2011.

The exhibition takes its name from the 1906 science fiction novel by H.G. Wells, in which the vapours of a comet are used as a device to bring about a profound and lasting transformation in the attitudes and perspectives of humankind. In the novel, William Leadford is an unemployed student living in the industrial town of Clayton. He’s a socialist who strives for a change of the upper-class power and squalid living conditions caused by industrial development in his town.

‘In the Days of the Comet’ features work by 39 artists, who use different art forms to reflect on the related themes of past and present, parallel realities, signs of change, order and orbits.

‘The exhibition pays particular attention to the ways that artists deploy histories to illuminate our present moment’ says co-curator, Lisa Le Feurve. ‘Importantly, this is an exhibition that stretches across time and space, developing over its tour. It’s really exciting that we will be concluding this investigation into the way we understand the present in Plymouth’

b a s 7 p lY Mou t h

The idea of holding a contemporary art show of this scale in Plymouth is exciting, it’s also a very bold move.Plymouth is the BAS virgin among this year’s group of host cities. With Nottingham, Glasgow and London firmly established on the contemporary art scene, these

cities have larger venues and audiences to contain such a large-scale exhibition. The modest area of exhibition space required for the show in Plymouth will be spread out over a number of venues, including the City Museum and Art Gallery; Peninsula Arts Gallery, University of Plymouth; Plymouth Arts Centre; Plymouth College of Art and Royal William Yard. A number of smaller venues will also be used to host a range of fringe activities under the name ‘Plymouth Art Fringe’.

Nottingham’s exhibition attracted an audience of over 110,000 people. Can we achieve these numbers in Plymouth? Not without a significant move by the city to engage new audiences in contemporary art. Still, it seems that these initiatives are already under way.

Plymouth Visual Arts Consortium (PVAC) is a partnership between the city’s primary visual arts providers. Utilising BAS7 as a starting point, PVAC deliver a number of projects, which look to where potential and existing contemporary arts audiences exist. ‘Constellation’ is a programme of free events delivered by PVAC and its partners, which aim to introduce and familiarise people with contemporary art. Until December 2011, anyone can come to events, which are all connected to the themes of the exhibition. These include film screenings, music, education, workshops and more.

Plymouth Arts Centre, who are members of the Consortium, also help deliver ‘Take Apart ‘ a community arts project for the Efford community in Plymouth. Efford, Plymouth’s new ‘Capital of Culture’, is an area currently undergoing mass regeneration. Members of the community recently took a trip to London, to see BAS7 at the Hayward Gallery. The group took a tour to understand aspects of the works in exhibition and a film made to capture residents reactions to the works will form part of the work for the exhibition when it comes to Plymouth in September.

l iF e a F t e r t he br i t i s h a r t s ho w

“Potentially a great title for an exhibition’ says Paula Orrell, Curator for Plymouth Arts Centre. ‘It is something that the cultural community really needs to take seriously, only through setting the conditions for the exploitation of this great opportunity now will we truly benefit once the comet has passed.

The significance of this exhibition has already brought in new experiences and engagement of contemporary art to a growing audience. It has also provided a vision for the future and an order of things to come for culture in Plymouth. The themes perfectly reflect and underline the process of a city undergoing cultural regeneration. They provide a narrative for a city rightly proud of its history and heritage, but significantly less confident when looking to an undefined future.

As uncertain as the future may be, the success of the exhibition when it reaches Plymouth is very much dependent on what we do before, during and after it comes to town. For certain, such transformative times need to be documented before the moment is gone. At a time when cultural and creative regeneration is happening all over the city, there couldn’t be a better time to start a publication focused on arts and culture in Plymouth.

the british art show

This year Plymouth will host British Art Show 7 (BAS7), entitled ‘In the Days of the Comet’. Curated by Lisa Le Feurve and Tom Morton, BAS7 opened at Nottingham Contemporary in October 2010 and has since toured to the Hayward Gallery

in London. The show is now in Glasgow until the end of August, before it makes its final stop in Plymouth this September.

Milena Dragicevic Supplicant 77, 2008

nb

British Art Show: britishartshow.co.ukBAS7 Plymouth: plymouthbas7.org

Plymouth Visual Arts Consortium: pvac.org.ukTake Apart: effordtakeapart.org.uk

The current economic climate coupled with that little thing called the Internet has sounded a death knell for traditional magazines. Naysayers have been warning of the long-mooted print apocalypse for some time, and with every publication you really have to weigh up why you’re printing.

r e a s on s no t t o p r in t

Why wait for a magazine to come out each month, when you can receive timely regularly updated content online for free? Also, print magazines are insanely expensive to produce. They cost money, time, and people. Online content can be made with fewer resources, at less cost and with less effort.

Then there are environmental issues to consider. Print publications undeniably consume more dead trees than their digital counterparts. And, less people read dead trees. The readership of a print magazine is limited by the size of its circulation. Online content has this boundless ability to reach the masses quickly and easily.

So unless you’re a stubborn Luddite, or a big fat publishing house that can afford to lose a few pounds, get out of the print game.

r e a s on s t o p r in t

With all due consideration, we still think there’s no better time than NOW to produce Nom de Strip. Caution, sanity

and logic aside, we’re writers and designers, of course we love print! We love the process of printing, making and doing. There’s something extremely satisfying about handing over a copy of your own magazine; the personal correspondence involved in that exchange is very important to us, you can’t do that on-line.

Print is a labour of love. It’s not dead, far from it. People still want to read certain things the good old-fashioned way. Plus, a tangible hold-able thing works best for what we want to achieve.

We have no interest in creating throwaway media. Accessing “news” in real time from the web has its place, but we’ve become jaded to the relentless regurgitation of non-information.

We want to make something with substance that is well written, well designed and well produced, which informs and inspires, which ends its days making the coffee table not tomorrow’s chip paper; print has a role in providing this type of content. For us, timing isn’t an issue, and quality beats quantity any day. Nom de Strip offers carefully considered in-depth discussion, real news analysis and inspiring visual content.

With a modest print run of 2000 copies per issue, our print costs are pretty low. We only work with eco-friendly printers who use FSC, 100% recycled stock. Our distribution costs aren’t bad either, because we plan to distribute the magazine ourselves. Put simply, we’re making something for the city so people need to be able to see it.

s Mel l s l ik e Z ine s p ir i t

Despite the decline of major print titles, the popularity of niche magazines continues to grow. Subversive zines that explore increasingly personal and obscure interests still gain a huge following. In fact, it seems that zine culture in Britain is the healthiest it’s been for a long time. London Zine Symposium is now in its fifth year and attracting crowds in their thousands. Similar events, such as Manchester Zine Fest, also pull in strong numbers. Independent media is having something of a resurgence. Why? Because, magazines are interesting when they convey a special attitude about our times or ourselves; when they hold an interesting moment in time, then, we like to read and look at them.

With large-scale cultural events like the British Art Show 7 coming to town, there’s a growing audience of people out there with an interest in Plymouth arts and culture. As well as these big events, we also need to pay some attention to the hive of activity that goes unnoticed in the city - we’re talking about Plymouth’s artistic underground. These events deserve attention too and that’s where we come in…


to print or not to print?

VS

nb

London Zine Symposium: londonzinesymposium.org.uk


about us

pa Mel a p e t e r- a Gb i a

Co-director/Editor

How long have you been living in Plymouth:Almost 10 months.

What do you love about Plymouth:I love Devonport, where I live. The area

is rapidly transforming as a result of industrial strength regeneration and it feels like a really exciting place to be.

Career:A bit of this, a bit if thaaaat! I work in arts marketing and communications for

the Barbican Theatre and Plymouth Arts Centre. I’m also a freelance writer

with an interest in cultural diversity and development. My background is in politics, economics and development, which is seemingly unrelated to what

I’m doing now. Essentially, I’m attracted to the possibilities of arts and culture

to communicate, reflect on, inform and influence all forms of development.

Career Highlights:

Being nominated for the Guardian’s International Development Journalism

Award, for an article I wrote about River Blindness in Uganda. This year, I also wrote and published my first book, ’30 Years, 30 Voices’, for the Barbican Theatre. It’s about the role of small

arts organisations in nurturing creative talent, as told by 30 people who have

come through the theatre’s doors.

Contact: [email protected]

w il l i a M r up er t h ibber d

Co-director/ Art Director

How long have you been living in Plymouth:Almost 6 years! I came here in 2005 to study Graphic Design at Plymouth College of Art.

What do you love about Plymouth:I love that even after 6 years here, I still

find new places to explore. My most recent discovery is the virtually derelict Bovisand

Fort, which looks like something out of Resident Evil. Plymouth is also good for bike enthusiasts, like me. I came to Uni here because of the good BMX scene.

Career:I am a creatively led, independent designer.

Since graduating from University, I have gained in-depth experience within the industry, working with national and international clients, such as National

Trust, on integrated services including: identity & brand development, art direction,

print and website design. I have also set up and run a number of successful self

initiated projects, including Just Us design collective – set up to showcase young and emerging creative talent from universities and colleges across the UK - and Nom De Strip, the paper you are currently reading!

Career Highlights:

Curating ‘KK Job Centre’, a month long exhibition of 20 graduating members from the Just Us design collective at

KesselsKramer Outlet in London. The gallery space was turned into a kitsch job

centre, with tongue in cheek references to the social and economic problems of recession; a reaction to student fears of finding a job and being in poverty after

leaving university. The exhibition received a lot of publicity and positive reviews from

Creative Review and It’s Nice That.


w il l i a M l e on a r d a Mer Y

Founder/Production Assistant

How long have you been living in Plymouth:I have lived in Plymouth all my life.

What do you love about Plymouth:Plymouth has always had a huge amount

of potential. With an active community of people working on projects in and around

the city, there is always something new and exciting to get involved in. As an artist

and practitioner, the unique landscapes in and around Plymouth have always been a constant source of inspiration to me.

Career:I studied Fine Art at Plymouth College of Art and then went on to start an MA in Creative Entrepreneurship. I fell for

documentation as my main mode of work. My passion for print developed, as I started writing blogs about art & culture in Plymouth. I’m currently a restaurant manager with a passion for people and

patterns devised by social activity.

Career Highlights:Being part of Control Point, a curated

exhibition concerning artist-led practice, held at Plymouth Arts Centre in

2009. As an emerging artist, who had just come out of University, it was a

really positive experience for me.Control Point offered artists and

audiences an opportunity to consider and examine how artists can accomplish

significance and arm themselves with skills for survival in the current climate,

in the studio and through workshops, talks, presentations and residencies.


j a Me s pa s c oe

Support/Mentor

How long have you been living in Plymouth:5 years

What do you love about Plymouth:Plymouth’s varied landscape lends

itself well for outdoor activities.I love the fact that everything is on my door step. I can get to the beach, the moors, and

the sea easily. I often cycle to Dartmoor with my energetic Border Collie, Blu, or spend

Sunday’s floating around Plymouth Sound.

Career:After a career as a Royal Marines Officer, I established Entropy Projects, focusing on unlocking unexploited potential, wherever it may lie. I have been heavily involved in

developing the sustainable transport culture in the city and believe that the cultural, and therefore, lifestyle development of

a place is critical to its economic growth and regeneration. I’m currently working

with the National Trust to deliver a major mountain bike centre on the outskirts of the city; this allows me to mix one of my

main interests with work quite nicely.

Career Highlights:I don’t even need to think about

it. Definitely, hands down, meeting and working with these guys.

It’s true. These words definitely haven’t been put in my mouth.



William Amery met James Pascoe in 2009, at the opening of U:1 studio, at Plymouth Arts Centre. They quickly discovered a shared ambition to produce a publication

focusd on arts and culture in Plymouth. After further meetings to develop the idea, Will and James set about finding designers to turn their vision into a reality. A chance

meeting with William Hibberd from Just Us design collective did just this.

William Hibberd met William Amery in 2009, on graduation day, at Plymouth College of Art. William Amery introduced William Hibberd to James and invited Just Us design collective to come

up with a brand indentity for a Plymouth arts & culture magazine. From there, Nom de Strip was born. Two successful pilot issues were produced before Nom de Strip went on hiatus in early 2010.

William Hibberd and Pamela Peter-Agbia went to school together. In 2009, they bumped into each other at Glastonbury festival and kept in touch. In 2010, Pamela moved to Plymouth for an

internship. Will, who was already in Plymouth, asked Pamela to get involved with Nom de Strip as a writer and editor, introducing her to Will and James. From there, Nom de Strip was born (again)...


how do we surViVe in plYMouth?we work toGether.noM de strip is For eVerYone with an interest in deVelopinG plYMouth’s cultural landscape. we want to Meet and work with people who do Fun, Great and interestinG thinGs in the citY. iF this is You and You like what You see…[email protected]


join us

www.noMdestrip.co.uk / 2,000

the introduction issue

Documents

s t r ip t

t r oduc t ion

s s ue2thankyou

s s ue4hows portsmouth

s t r ipa type of alias

portsmouth plymouth

qualities plymouth

plymouth arts culture