is the Project Space programme developed by CRATE's 2011-12 curator, Toby Huddlestone.

Starting with a on April 16th 2011, it will examine alternate models of exhibition format.

The Exhibition as Medium programme concentrates attention on alternate models of exhibition format through the presentation of research through production - exhibitions, screenings, events, talks, symposia, papers and publications will be produced alongside social events, informal discussion and electronic dialogue.

The focus of the exhibition will shift from the more traditional spatial 'static' show, where artwork remains in the space to be consumed, to something more active, temporal and engaging. Consumption and viewing will make way for a more fluid site of action, response and production.

Five major projects are planned through twelve months along with two symposiums book-ending the programme.

15 July - 7 August 2011

A group exhibition presented more in-accordance as a series of solo shows. Each artist is invited to take on the exhibition space, utilising or dismissing previous incarnations by artists before them.

Curatorially, the importance is shifted towards the exhibition's time frame rather than use of space. This group show format places artists in a much more active decision-making role than usual, asking them to respond physically to others' work in the space, so shifting the curator's role of placement to the artists.

Artists include Bestue and Vives, Garrett Phelan, The Woodmill and Noel Clueit.

26 August - 18 September 2011

An exhibition centred on the work of sixties and seventies conceptual artist Robert Barry. A solo show you might say, except that none of his actual work will be displayed.

Instead, a reinvention of the solo show. Here, re-workings and re-interpretations of Barry's work will be presented in the only exhibition in the programme that will remain in a static form.

A focus here lies more in what a solo show can constitute, in this case focusing on artists and thinkers who have utilised Barry's ideas in order to create new work or re-imagine original works.

This curatorial premise of re-thinking the solo show abolishes the ongoing contentious issue of whether solo shows can ultimately be curated; this is much more a curatorial project than an invited and organised solo exhibition.

Artists include Jonathan Monk, Paul O'Neill, Mario Garcia Torres and Goran Djordjevic/Museum of American Art.

14-30 October 2011 (opening 13 October)

Co-curated by selected students on the MA Curating course at RCA.

Artistic production is shifted from artist to curator in this evolving exhibition.

An artist, selected by the RCA students, will electronically send their daily research to the curatorial group. The process between research in a raw form and exhibited artwork will then be carried out by the curators, who will create the artworks from this research for the exhibition space.

I'm so bored of viewing investigates power relations and authorship around artistic product. The artist to a point is giving up artistic and curatorial control over their work; the curators having to work quickly and intuitively with raw research rather than finalised works; the friction ensuing through this process hopefully fueling both verbal and material discussion and debate.

18 November - 11 December 2011

The three-minute punk-rock song is one of the most generous forms of artistic expression ever created. Lasting around three minutes, it allows us plenty of time both before and after the event to carry on with the rest of what we have to be getting on with.

The works and artists in this exhibition recognise the poignancy of a wanting for cultural quickness, and the importance of (the word that defines what we do) practice as we continue to re-interpret and re-invent artistic methods to create new associations and commentaries of our qoutidian reality.

The works are not one-hit wonders, far from it; like the punk-rock song, they arrest us and reverberate a political stance through us, shuddering us into an altered state forcing recognition and ambition, and like the punk-rock song there are also strewn errors, spasms, glorious hic-cups and splutters, reminiscent of our everyday stumblings. These are left exposed, as a reminder that practice is still practice.

Artists include John Latham, Rose Kallal and Mark Beasley, Kim Noble, Sue Tompkins, Vito Acconci and Daria Martin.

Jan-Mar 2012

This project will begin with a screening of Fischli and Weiss' The Way Things Go, and takes on John Latham's theory of any object or thing being the result of a time-based event.

One thing sparks another, and each artist will invite another into the process of working on an event that is sparked by the previous event to have taken place. This will continue until the date-end of the project.

Artists include Neal White, Karen Di Franco, Filipe Glissen, Ryan Gander and Freee.

April 2012

At the Showroom, London (date and place tbc).

Participants form the start symposium and more picked up along the way regroup to publically discuss the Exhibition as Medium programme and new thinking into alternative exhibition strategies.
A publication of the programme will launch at an event planned for the evening.

Image: Event Show 2012

JEMT May 2011


An exhibition of contemporary art
presented by JEMT:NEW ARTS GROUP
21st - 27th May 2011

Opened at CRATE PROJECT SPACE on the 21st of MAY from 6-9pm

Jim Heeley, Edward Blain, Mark John Smith, Thomas Langley

Toby Huddlestone - new curator for CRATE.

CRATE has awarded its 2011 - 2012 Curatorial Bursary to Toby Huddlestone.

Toby is currently developing a programme tilted 'Exhibition as Medium', which primarily aims to concentrate attention on alternate models of exhibition format through the presentation of research through production. Exhibitions, screenings, events, talks, symposia, papers and publications will be produced alongside social events, informal discussion and electronic dialogue. The programme began with a 'closed' symposium on 16 April, now archived on the CRATE .

The main programme will commence in July 2011 and run until April 2012.

Model and Monument April 2011

Model and Monument

Model and Monument

Perceptions of Margate are being reshaped by redevelopment work in the town. New energies and aspirations are unfolding out of existing narratives of the town as a seaside resort. The exhibition contrasts the development in Margate of the new Turner Contemporary with a building traditionally associated with Margate, Dreamland.

Model and Monument, an exhibition of work by Stephen Blowers opened at Crate Project Space on Friday 1st of April 6 - 9pm and was then open Saturday 2nd and Sunday 3rd April 11am - 5pm.

For further information contact:












Image: Charley Vines

Crate Programme

WORKS - copyright Simon Steven 06

The Project Spaces at Bilton Square house the CRATE Programme. The programme supports artists' research by providing time and space to develop work and ideas. It includes residencies, exchanges and projects initiated or supported by CRATE. The CRATE Curatorial Bursary has been the main strand to the CRATE Programme since 2009. CRATE is also open to proposals from individual artists and collaborative groups. At other times the Projects Spaces are available for artists and arts organisations to hire. For further information or to propose a project please contact

Stephen Blowers

Stephen Blowers

STEPHEN BLOWERS: At the present I am making work that relates to place, specifically Margate. A reoccurring theme is the connection between memory and place. Most of my work is sculptural and I use a wide variety of different materials. The materials I use are important and specific to the project at hand. I work incrementally, with each piece of work subject to revision.


Thelma Findlay

THELMA FINDLAY: I'm currently working with the idea of past memories engaging with the present, using old negatives, photography, graphite, paint and text. This is still very much in the experimental stage. The materials I use in my work vary and I'll try any medium to gain the finished effect I want.



Nova Marshall

My latest work, Inamorata, is a site-specific sculptural sound installation exploring the rich history of women in churches in the Romney Marsh. The large crinoline-cage explores themes of sexuality, gender, desire and repression within traditional Victorian society, whilst the sound represents a contemporary, modern-day view of a collective of women unified by common interests and passions. I often use sound to create a visual representation in the viewer’s mind.

I am also working on an on-going site-specific project in collaboration with a performing artist and a photographer.

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