Hannah Hull, UK by Claire Farrell

Hannah Hull

Hannah Hull has developed a number of projects and interventions that explore Longbridge from a social viewpoint during the period of her residence and collaborated with Stephen Burke for the ‘Women of Longbridge’ project.

Hull’s starting point was the archival material held by Bournville College, now sited in Longbridge. With Quaker roots connected to the nearby Cadbury factory, the College’s archival documents tell a particularly political tale underpinned by education for ordinary working class people and for women. A student newspaper from the turn of the century that provided a voice for women has been used as source material to develop new texts with today’s female College students. What has surprised Hull is how many of the narratives and concerns of individuals are similar despite being separated by more than one hundred years. Creative writing workshops with College students and older women have facilitated discussions on feminism, fashion and relationships. Titled ‘Postcards from Bournville College’, Hull has produced a text-based artwork that has been distributed to residents sharing some of these women’s stories. The wax-sealed postcards offer advice to women across, as Hull describes it, this ‘collapsing of time’.

Hull is also working on a project with musician Nigel Clark from the pop rock band Dodgy, who was employed at Longbridge car plant for four years. Together they are developing lyrics and music for a song looking toward Longbridge’s future via an accumulation and processing of real experiences. The music will be performed by local musicians and will eventually be distributed via a limited edition CD and online. Hull sees this project as allowing for a far deeper level of audience engagement, as her research is literally ‘embodied’ through the physical and emotional acts of singing and playing music.

Another of Hull’s projects is exploring boundaries by engaging with local businesses on the periphery of the new development. In collaboration with other artists such as Cathy Wade and Rob Hewitt, Hull has visited small retailers – fish and chip shops and kebab houses, for instance – and offered her services as an artist for one day to these outlets. This generous and playful series of interventions has created conversations about creativity and art with people for whom this is not necessarily a part of daily life. Proprietors have revealed stories about drawing or other creative processes, have begun to think about art again for the first time in many years and some have asked Hull to complete specific tasks for them. As its manifestations and impacts are often extremely subtle – perhaps a change of perspective, a brief verbal exchange or the jogging of a memory – this has been a difficult project to document. Hull has described this approach as ‘social sculpture’. An interaction with people on a very personal level is at the heart of her ongoing practice.

Text by Anneka French

Hannah Hull makes situation-specific art and undertakes social research. Her practice catalyses dilogue and change for socially-excluded and at risk groups. Her approach is dynamic and responsive; an open mechanism that allows things to be made, reformed and challenged. The outcome of this process might be an action; it might be an object; or it might be words.

www.hannahhull.co.uk

Juneau Projects, UK by Claire Farrell

Juneau Projects

Birmingham City Council have designated Longbridge an ‘ITEC Park’ – an economic zone they feel best suited to delivering the information and communication services of the future. It is within this framework, and within the context of Longbridge’s extensive design and production heritage, that Juneau Projects’ ‘Digital Longbridge’ is being developed.

Artists Ben Sadler and Philip Duckworth, working as Juneau Projects, bring together contemporary technologies with more traditional, handmade processes in almost all of their practice. Building up to the Longbridge Light Festival in 2016, they have held numerous workshops in the LPAP temporary project space and at other locations that tap into the wealth of ideas and skills embedded within Longbridge’s residents. At these workshops with groups of adults, young people and children – up to 200 people so far – the artists have invited participants to select a theme and design their own badges. The workshops have transformed hand drawn designs into cut plywood badges using a laser cutter. These shapes can be painted and decorated by hand but will also act as triggers for digital animations when scanned with an augmented reality app on a smart phone.

At the Festival, these will be artworks to be worn, disseminated, seen, discussed and interacted with – public artworks on a far more intimate and personal scale than might usually be expected. The badges will be distributed freely. Juneau Projects hope that scanning other peoples’ badges and unlocking animations will create new conversations at the Festival and beyond. These badges look to the future of Longbridge – they have been designed and made by its residents, based on their interests and ideas.

‘Digital Longbridge’ is, in this way, providing a social and cultural snapshot of Longbridge – this is a live research project that explores the creativity of the community. It is additionally equipping people of all ages with new skills. The open source animation software is available online as a free download and laser cutting machinery, for instance, is often underused by schools and college groups that own it. The project gives people tools to explore new possibilities for creative making and new possibilities for Longbridge. The skills learnt reach much further than immediate participation in the ‘Digital Longbridge’ project.

It has been a very natural thing for Juneau Projects to work with local residents, especially given the heritage of the area. Alongside the badge project, the artists are working with a group from the nearby St. John the Baptist Church who have a history of making decorative banners. Together they are exploring how laser cutting may be a useful process for these women within the creative works they are already producing for their community.

Juneau Projects are increasingly interested in collaboration and have worked to balance giving people a sense of freedom when making and ownership over the objects they have made without this process being overwhelming. Giving people the chance to work with a whole production process – from design to finished object – is a hugely valuable opportunity with obvious parallels to Longbridge’s manufacturing heritage.

Text by Anneka French

Juneau Projects are Ben Sadler and Philip Duckworth. They have worked together since 2001 and are based in Birmingham. Their work involves the use of a variety of media including painting, sculpture, music, animation and installation, often in collaborative and site-specific ways. They have exhibited nationally and internationally with institutions such as PS1, New York; Eichigo-Tsumari Triennale, Japan; Tate Britain, London and Ikon Gallery, Birmingham.

www.juneauprojects.co.uk

Cathy Wade, UK by Claire Farrell

Cathy Wade

When Lord Herbert Austin visited the old print works in Longbridge on 4 November 1905, a leap of imagination was required – this was the site he had selected for the Longbridge car factory.

Underpinning Cathy Wade’s ‘Star Map’, soon to be installed on site, are some of the intangible factors that brought Lord Austin to this particular part of southwest Birmingham. Rather than focus on the history of the plant per say, Wade’s sculpture is a carefully researched visualisation of the night sky over Longbridge, at its signature longitude and latitude, at the time of Lord Austin’s visit. Constructed from stainless steel, with constellations cut through to reveal points of light by Digbeth-based manufacturers, Clifton Steel, this is a monument to an auspicious moment. ‘Star Map’ echoes the flux, energy and power of machinery within the ever-changing face of the skies above us.

Nearby, Wade has completed another project that re-thinks the future of public and private space in Longbridge. Working closely with St. Modwen’s urban design team, Wade has created a planting and lighting system for the new town centre, whose ideas have come through the 2014 iteration of LPAP’s Longbridge Light Festival. Programmed lighting and a series of multi-stemmed birch trees have transformed a hard-landscaped space into one that can be explored. This is a work of art with a practical and social function that will subtly alter according to season, time of day and the natural growth of the plants. Wade’s vision is for this work to metaphorically and physically connect aspects from different moments in the timeline of Longbridge – to help pedestrians navigate the new walkways and publically accessible areas, and to offer an alternative, nuanced perspective of the current site development.

Longbridge’s train station has played a vital role in its history. Its rail services were another key reason for Lord Austin’s selection of the site. In its heyday, thousands of workers would disembark trains arriving in Longbridge. The station – a key gateway to Longbridge – is also in the midst of redevelopment plans. Wade has been working alongside Northfield Ecocentre’s Incredible Edible initiative to devise a project for the station that aims to re-plant the station banks with wildflowers and cuttings donated by the community, including edible plants that can be harvested by the community. This living artwork will grow and alter like the planted town centre works, while making reference to ‘green wall’ sites at other stations and public buildings in Birmingham, including the recent Marks and Spencer green wall in Longbridge. This is no fixed monument but one with the capacity to mature, adapt and literally take root in its selected ground. A series of photographs taken by Wade of the station and other stations across the country shared via social media since early 2013 conceptually expand the site of Longbridge train station. These are creating new conversations about the value of the railway.

Perhaps what is most important to Wade is keeping alive a sense of civic pride. Longbridge is a place where people live, work and socialise, and this has to be considered. Wade’s various projects draw together the history of the site, as well as its present developments and future changes. Through conversations at Greenlands Social Club and with other residents of Longbridge, her works offer a sensitive and organic approach to making art for and within such a complex physical and emotional place.

Text by Anneka French

Cathy Wade is an interdisciplinary artist who manifests works through collaboration, writing and publication. Her work is disseminated online and through material objects in formal and informal networks.

Recent projects include Delineator and the #ShaunRyderBeermatShow. She has exhibited extensively in the UK and internationally working with galleries and projects including Werk, Vertigo Gallery, Vivid, Toomey Tourell Gallery, Sluice, Printed Matter, Newlyn Art Gallery, Ikon, Ech-O-Cham-Ber, Curfew Tower, Capsule, Clarke Gallery & A3 Project Space.

She is currently The BCU Wheatley Fellow for 2015-2016.

www.cathywade.co.uk

Stephen Burke, UK by Claire Farrell

Stephen Burke

Photographer Stephen Burke has produced a series of large-scale portraits as part of his collaborative research project with artist Hannah Hull titled ‘Women of Longbridge’. This work offers an alternative perspective of the Longbridge site that pays particular attention to and is a recognition of the role played by women in the male-dominated car industry. Alongside re-balancing the historical recording of women within the design and manufacture of cars at Longbridge, the project looks toward its future. One of Burke’s goals has been to inspire young women – the future generation of Longbridge – through highlighting significant contributions and achievements of the past.

Each of the five women involved in Burke’s project were formerly employed at the car plant at different points in time and within different roles. Their participation in ‘Women of Longbridge’ demonstrates the generous ongoing participation and warm welcome that the LPAP artists and team have received from the local community over the last few years. Taken in Longbridge or in the women’s individual homes, the sitters’ portraits are powerful and intimate. The slightly wistful air of the photographs is undercut by a recollection of the realities of working with heavy industry, including the danger and difficulties of physical work. This balance between nostalgia for the past and a candid remembrance of it underlies much of LPAP’s work.

Following their participation in the portrait sittings, each of the women were invited to workshops to discuss their involvement and to unpack their own stories of working and community life. Each had her own reasons for getting involved and some of the women brought their families with them, extending the personal and social histories discussed into familial histories to be remembered by younger generations. Burke’s own mother had been involved in marches against the closure of the plant, and in taking him along, he has his own connections to the people of Longbridge and to its recent past. Burke has discussed the importance of emotional connections to a place being formed not only by his own memories but also through experiences of his family.

The ‘Women of Longbridge’ project was exhibited in the LPAP temporary space in October and November 2015, accompanied by collaborative work by Hannah Hull, whose interview transcripts with the women formed the other half of this particular artist in residence commission. Burke is looking to find a permanent home for his series of photographs in or close to Longbridge.

With other artists and community collaborators, Burke has delivered a number of photography ‘walkshops’ for the public and alternative history walks across Longbridge. As well as encompassing aspects of the plant’s history, older historical narratives have been uncovered dating back as far as the English Civil War. These narratives stretch the historical and cultural context of the place beyond the immediate and highly dominant influence of the factory, allowing fresh perspectives to emerge.

Burke is further working on an archival project on Longbridge as part of the future programming of LPAP and is LPAP’s Project Assistant.

Text by Anneka French

Stephen Burke is a photographic artist living and working in Birmingham, UK. His work explores the relationship between people and place, and how our social and physical environments can have a determining effect on who we are and how we live our lives. Conversation, chance, collaboration and celebration are key themes in his approach to creating work.

www.stephenpburke.co.uk

Stuart Whipps, UK by Claire Farrell

Stuart Whipps

In one of his most ambitious projects to date, Whipps is restoring a 1275GT Mini made at the plant in 1979 with the help of several ex-employees including Keith Woodfield, whose time and insight is proving invaluable. Many of the processes of stripping down and replacing or repairing the parts can be seen in a glass-fronted cabin-come-workshop in the carpark of Bournville College, as well as being featured in various galleries across the country as part of Whipps’ participation in the touring ‘British Art Show’ exhibition. The (dis)assembly of the Mini provides an echo of the cyclical changes experienced by Longbridge itself, for, after a long period of demolition and emptiness, new opportunities and facilities are emerging. The display of the car in various states of repair showcases the significance of this particular part of British manufacturing heritage to a wider audience.

Individual car parts have been photographed upon removal from the chassis in a kind of ‘forensic examination’ of the car, as Whipps describes it. Supporting these parts, in the background of the photographs, are what appear to be ordinary sheets of newspaper. In fact, these pages depict political cartoons from the national press in the watershed year of 1979. In this year Longbridge trade unionist Derek Robinson, known as ‘Red Robbo’, was dismissed after almost forty years at the plant, shortly after Margaret Thatcher came into political power. She described Robinson as a ‘notorious agitator’. These political threads run throughout Whipps’ work for LPAP. Indeed, his project is titled ‘The Kipper and the Corpse’, a line that makes reference to a 1979 episode of ‘Fawlty Towers’ in which Basil Fawlty jokes about strikes at Longbridge.

Near to the workshop where Whipps has been working will soon be a pedestrian tunnel under the A38 bridge. The artist has designed a number of permanently-sited artworks that will enhance this new public gateway for pedestrians and cyclists in Longbridge. Whipps’ designs will incorporate elements of Longbridge’s past. A chronological presentation of every body work paint colour produced at the plant will appear on steel barriers that will separate the tunnel archways from the River Rea, combined with an enlarged, distinctive hounds-tooth pattern used in the interior upholstery of cars manufactured at the plant. This is to be a timeline of changing taste and aesthetics, manufactured with contemporary technologies and materials. A lighting system designed by Whipps within the tunnel will provide practical lighting while illuminating various key features of the historic structure.

Text by Anneka French

Stuart Whipps is revisiting Longbridge after making an extensive series of photographs of the MG Rover Factory between 2004 and 2007. He also photographed the new MG factory in Nanjing, China, and was the recipient of the Observer Hodge award for this work. Since then Whipps has continued to work as an artist, predominantly using photography and video on a range of diverse projects. Recent projects have examined a surrealist concrete sculpture garden in Mexico, the British artist John Latham’s archive and the history and legacy of Birmingham Central Library. He is currently making a feature-length film on the legacy of post-war British new towns.

'The Kipper and the Corpse' is generously supported by The William A. Cadbury Charitable Trust. It is exhibited as part of British Art Show 8. Find out more about the British Art Show 8 by clicking here.

www.stuartwhipps.com

General Public, UK by Claire Farrell

General Public

In 2014 and 2016 General Public (Chris Poolman & Elizabeth Rowe) were commissioned as artists-in-residence to develop work for Longbridge Light Festivals.

For LLF 2016 General Public brought a touch of mild 1960s idealism to the Longbridge Light Festival 2016 with their ‘very civil’ rights march. Taking its name from a Martin Luther King quote – ‘Our lives begin to end the day we become silent about things that matter’ – the parade featured local community groups and school children marching with banners and holding placards. These were all made by the people taking part to tell you about what is important to them. Musical accompaniment was provided by 9 piece brass band The Young Pilgrims who performed a special ‘protest song’ musical medley.

For LLF 2014 the artists were commissioned to develop the theme and curate Longbridge Light Festival 2014.

Curatorial Statement:

The new town centre has landed
Where once stood the largest car factory in the world, now stands the new Bournville College. Bringing with it new knowledge, opportunities and expectations, the college resembles a building that has landed from a science fiction future. Elsewhere in the new town centre extra-terrestrial unknowns abound, Greggs' sausage rolls for instance.

Set within the new Longbridge town centre, the inaugural Longbridge Light Festival contained a combination of newly commissioned artworks, special events, LPAP artists-in-residence work in progress and an exciting participatory programme. Local businesses and community groups opened their doors to the general public as we go ‘Back to the Future’.

The ‘Back to the Future’ title theme was chosen because it has a number of interpretations in relation to Longbridge:

The Sci-fi Town Centre
Set within a rapidly changing mixed-use redevelopment site, itself resembling a shifting, earthy, lunar landscape, the new town centre site is strangely science fiction. Dominating this space is the new Bournville College, referred to locally as ‘the spaceship’ on account of its distinctive architecture. Matthew J Watkins and Poolman Rowe will present 'Close Encounters of the Longbridge Kind' as they use coloured light and images from local archives to transform the college into an extraordinary other worldly object. In Austin Park, a series of cave sculptures by artist duo Juneau Projects contain animations that offer messages about possible near-future scenarios, whilst Austin Houldsworth’s interactive light sculpture creates a dramatic central hub within the new town centre to measure community cohesion. In this town centre of the future, The Institute for Boundary Interactions replace the old town crier with a digital manifestation, absorbing and exclaiming social media at random. While the starting point for Joanne Masding’s LED video wall commission, ‘Symbol for a Light’, is the anglerfish, an animal which uses a dangling, luminescent organ on its head to attract prey and mates - a symbol and metaphor for the seductiveness of new technology perhaps? In contrast, Matthew J Watkins exploration of homemade science fiction effects introduces a more retro technology into the ‘smart city’ space via a series of obsolete overhead projectors. Flatpack Festival's ‘Magic Lantern’ show in the Bournville Conference Centre injects a further level of historical technology as Mike and Theresa Simkin delight us all with the marvels of Victorian entertainment.

The Sustainable Town Centre
How do we imagine the future of our town centres? The new Longbridge town centre raises a number of questions in relation to the ecology of the city, the politics of regeneration, sustainable living, mobility and energy usage. But in looking to the future, we are in some ways looking to the past – the ‘Back to the Future’ of our subtitle. Older methods of negotiating the city, cycling for example, are becoming increasingly popular and the Longbridge Light Festival presents a number of commissions and special events that respond to issues of sustainability within the new town centre.

The 'Illuminated Science Fiction' cycle route invites people to dress up, light up and travel along the River Rea Valley route to Longbridge, temporarily illuminated between Northfield and Longbridge on the Saturday evening of the light festival. Within the context of the Birmingham Mobility Action plan, it asks how a permanently lit-up Rea Valley route - from city centre to city edge - might improve our negotiation of a car-centric city? BAZ’s collaboration with students from Turves Green Girls School, sees them constructing a tube carriage from a future fictitious ‘Birmiwoco’ transport network based on the Austin Allegro’s Quartic Steering Wheel. This will be powered by the open source ‘litre of light’ eco technology pioneered as a solution to the lack of electricity in the slums of the Philippines. Other alternative uses of light in the town centre include Pitaya’s 0% energy installations, inspired by the red weed in HG Wells' 'War of the Worlds', which ‘grow’ on street lights along the new High Street and the specially commissioned sculptures in the lantern parade. Built by artist Ruth Claxton, these are coated in retro-reflective paint (activated by light), a substance that is currently being incorporated into eco-focused European urban design. Daan Roosegaarde, who is speaking at the International Conference as part of the Longbridge Light Festival, is a pioneer in this field.

Past of Longbridge
As a wider proposition, the Back to the Future theme captures the difficulty that many areas undertaking a process of regeneration face: the need to look to the future, whilst celebrating a past that is vital to the identity of the local community. The artists involved in this project address the complex political and social context of Longbridge’s past in a variety of ways. Stuart Whipps conducts an ‘auto-psy’ as he projects forensic-like images of Mini parts in one of the factory’s former tunnels under the Bristol Road, whilst Cathy Wade’s ‘Found Sculptures of Longbridge’ use light to transform local redundant architecture - the three red tanks - into illuminated markers of industry. Designer Heavy Object presents a process of ‘ghost-mapping’ or layering of historical information onto the festival map that is then played out by lighting up former entrances of the car factory on to the current town centre.

Using car parts as her conduit, Aillie Rutherford will conduct a series of psychic experiments in both Greenlands Social Club and the new town centre that will ask local people to imagine the future of Longbridge. Anna Schimkat, Moritz Wehrmann and Famed, all artists from Leipzig (a twin city of Birmingham), address the social context of Longbridge, perhaps framed by their home city, which like Birmingham has an industrial heritage on a colossal scale. Morton Underwood’s sound recordings make links to a further city of industry - Detroit - with their light activated feedback machines.

Participation
Longbridge itself exists on the periphery of the city - literally the ‘outer-space’ of Birmingham. The festival, very much like the wider LPAP programme, involves taking art directly into a given community, rather than a city-centre centric approach that assumes we will all travel to experience culture. This is about culture on your doorstep. As such, opportunities for local involvement, community participation and long-term partnership building are essential to the festival and wider LPAP programme.

Students from Turves Green girls school are constructing ‘lanterns’ and taking part in the lantern parade, whilst local community groups are invited to inject creativity into the new town centre through the ‘Window Display Competition’. Co-ordinated by cultural planner Jenny Peevers, local businesses will partner a community group and support them in making a window display in response to the Back to the Future festival theme. Likewise, local groups will make the illuminations for the Rea Valley Route transforming it for the night into a cycle path from the future.

The festival presents a series of exciting opportunities for direct, hands-on participation during the event itself. You are invited to pin the creation of the artwork in Unit Thirteen’s Light & Sound Playground, or have some fun at the making workshops in Bournville College where you can build, create, make and take part in the light festival as a walking, talking art work. Create a costume and walk around Longbridge as an alien for the night!

The Longbridge Light Festival is planned as an annual event. It is for the local community of Longbridge, to bring people to Longbridge and to explore it’s fascinating history whilst looking towards the future. In conjunction with the wider festival programme, it involves local businesses, old and new, opening their doors and making Longbridge a destination. Located on the edge of the city, why not make a visit to the ‘outer-space’ festival?

Chris Poolman & Elizabeth Rowe, Curators, Commissioned by WERK

General Public devise daring and humourous propositions that invite communities to participate in re-imagining their local areas. Their work sits somewhere between contemporary art, cultural geography and research. For the last two years, they have been working on the Balsall Heath Biennale, a self-imitated project in their local area of Balsall Heath, Birmingham.

www.generalpublic.org.uk

Luke Perry, UK by Claire Farrell

Luke Perry

In addition to ongoing collaborative work with Redhawk Logistica, Luke Perry has developed a number of individual public artworks during his time in residence. Perry’s long family history of skilled industrial manufacture can be discerned in all of the work he makes.

Perry’s primary research concern is not in the cars produced in Longbridge during the existence of the plant, but its working population – a community entirely dominated by the factory, that has the factory in its very being. One of Perry’s earliest LPAP projects was ‘Map’. ‘Map’ arose from interviews and conversations with ex-workers and with younger residents who have grown up with stories of the plant. It also came from a desire to visually map the enormous factory site. The result was an expanded and annotated drawing, made with the help of ex-factory worker and local resident John Baker, and Austin Sports & Social Club members. The map was exhibited at LPAP’s temporary space throughout 2014, and at approximately thirty-feet long, acted as an accessible stimulus for conversations and the recollection of personal memories.

Attending the ‘Pride of Longbridge’ event further extended Perry’s intimate research into Longbridge’s living history. He made a series of colour photographs of residents holding slates inscribed with their reflections on how and why Longbridge is a source of pride.

The series of portraits threw up surprising and touching stories about the significance of Longbridge – from a celebration of British manufacturing expertise to a man who met his future wife at the plant. The results are now significant records of emotional responses to place. These are important messages to remember when faced with huge loss, innumerable changes to the physical and social landscape, and what is, for many in Longbridge, an uncertain future.

‘Longbridge Street Signs’ was a commission from LPAP in which Perry developed and installed a series of steel road signs within the Longbridge area. The words on each sign are phrases taken from conversations with numerous former plant workers, again, like much of Perry’s public works, directly reflecting the thoughts, experiences and emotions of people from this particular place. One sign reads ‘I slept to the sound of the hammers’ – a particularly evocative statement about the audible and emotional reach of the plant. Perry’s series of fifteen signs are subjective and open to interpretation, acting as mediations on and interventions within the landscape. It is significant that Perry manufactures artworks himself, often using processes that have been used for multiple decades. This set of creative skills and knowledge connects his output directly to those of the Longbridge site. Perry’s working processes, as a maker of public artworks, consistently involve collaborations and discussions with communities. This supports opportunities for residents, such as those of Longbridge, to explore their own identities, in their own voices, while availing of the expertise of an artist in the creation of monuments to Longbridge’s varied legacies and to its future.

Text by Anneka French

Luke Perry is the director of IHS a company responsible for building one of the largest mining monuments in the world. He has re-made parts of the industrial landscape, created life sized communities in steel and created one of the country’s most iconic figurative sculptures. As well as monuments and landmarks IHS have become specialists in sculpture trails, working directly with the users of canals, town centres and nature reserves to create interpretation and sculpture.

www.industrialheritagestronghold.com

Redhawk Logistica, UK by Claire Farrell

Redhawk Logistica

All of Redhawk Logistica's work as an LPAP artist-in-residence has come about through the contributions of more than one person – starting with a process of research facilitated through the participation of others. The resulting artworks are credited under the corporate name of Redhawk Logistica - an arts entity set up by Rob Hewitt in 2008.

Redhawk Logistica began by facilitating a series of five ‘Collective Collages’ that explored various eras of car production at Longbridge which were created with different groups of local residents via workshops at Austin Sports & Social Club and Northfield Library. The designs and methods of advertising used to promote models such as the Princess and the Metro were researched in these sessions, creating images of free association from which people could read personal, social and political narratives via the cars themselves.

Redhawk Logistica mounted a series of temporary signs to public railings around Longbridge as part of their collaborative project with Hannah Hull offering businesses one-day sign-making services. These follow on from similar signs made and exhibited by Redhawk Logistica across the country over the past few years that critique political issues of place. These seemingly simple, text-based signs act as small interventions or interruptions into public spaces – perhaps making those that come across them think more closely about the identity of a place and the ways in which it might be navigated.

‘Goods In’ was a project conceived and made in collaboration with another of LPAP’s artists-in-residence, Luke Perry. Situated in exterior locations around Longbridge at the time of the Festival in 2014, ‘Goods In’ utilised twenty wooden car engine crates – perhaps, on first glance, a factory delivery held up by thirty years. Each crate, however, featured images or illuminated letters of the alphabet. As sculptural modular units, Redhawk Logistica and Perry were able to position the crates in multiple configurations to form provocative or reflective words or phrases connected to the political and social threads that run throughout Longbridge. The word ‘pioneer’ was spelt, for example, outside Greenlands Social Club, while crates spelling the words ‘a new power’ were positioned outside the new town centre Sainsburys. Stacked in a tower formation in the car park of Bournville College were the words ‘stop the clock’ – a reference not only to the 'golden' point in time that heritage projects often like to lock on to, but also to working hours and human labour, both past and present.

Redhawk Logistica delivers cultural solutions to civic space issues and contemporary urban phenomena. Much of our work takes the form of low-tech interventions which exist as subliminal influences within public spaces, highlighting the potential of the individual or the community. Previous work has included large-scale text installations.

www.redhawklogistica.com