We are absolutely thrilled that Samra Mayanja has been awarded the Nigel Greenwood Art Prize 2021.

Samra Mayanja

Leeds-based Samra Mayanja describes her film works as seeking to “acknowledge, collect and archive accessible, decentralised and dislocated images of black people and their environments – in an effort to commune disparate voices.” Mayanja studied Economics and went to Leeds Arts University to complete a Foundation in Art & Design in 2017. Since then, Mayanja has exhibited at Signal Film & Media, Barrow-in-Furness and MAMA, Rotterdam, Netherlands. Mayanja has performed at Centre for Live Art Yorkshire (CLAY), Leeds and Kampnagel, Hamburg, Germany.


bone deep and echoing of when (2020) 
short story accompanying the image can be found here




Research drawing for my ongoing project entitled, SCREAM
The sound piece central to this project was first exhibited at MAMA Rotterdam (2020) can be listened to here.  


Exhibition still from scripted from a wayward narrator (2019), watch an an excerpt from the here


Judges’ statement Nigel Greenwood Prize 2021

We were immediately taken with, and excited by, the ways in which Samra could use this residency as a way of developing her expansive practice. The Scottish Borders seem like a pretty special place for an artist interested in the spoken word, sound, performance and film to experiment and develop a new body of work.

For this residency, Samra plans to continue her exploration of ‘what moves us and what it is to be moved’. Drawing on texts from Ugandan and world history as well as her experience of worship as a child, she plans to think through faith as a bodily and sonic practice, as a thing with an emotive draw that informs our past and future. We particularly enjoyed the description of her methodology that will include walks, improvisation and trance-like states:

I will travel on foot to the coast, to the hills, to reservoirs and woods to sing in chorus with the elements. Always carrying my research with me in the hope that things that I cannot see are sounded through and around me. I am willing for vocal interruptions, harmonising, silence or silencing to happen between myself and the elements.


The rich linguistic and contextual knowledge Samra brings to her work, through unofficial art routes (she studied Economics at university) and her commitment to a more inclusive, exploratory way of making and talking about art seduced us all. We were also keen to support the practice of an artist working beyond London, and in particular, the burgeoning infrastructure in Leeds and the north east of England.

All the shortlisted artists’ work was outstanding and we were uncomfortable about selecting the work of one artist over another, particularly given the very challenging environment that many artists are currently faced with. We have therefore agreed that an offer be extended to all this year’s shortlisted artists to stay at the cottage in Longformacus and use the adjacent studio to develop their practice.

Jes Fernie, Giles Round, Tai Shani and Amy Sherlock

Jes Fernie’s statement
Having been introduced to Samra Mayanja’s work in recent months, I was so excited to see her name on this fantastic shortlist. I love the way she uses language as a tool to experiment, but more fundamentally, it is her commitment to her project that really struck me. There is a palpable sense that her practice unfolds in multiple different ways, not only through the ‘making of art’ but through the living of a life, as well as the construction of a personal narrative and a cultural trajectory. When considering Samra’s broad, generous and discursive practice, I am reminded of Saidiya Hartman’s approach to writing, researching and thinking: refusing the story that has already been told, making it up if necessary, and constructing new constellations that welcome in alternative voices and stories. I get the feeling that Samra is at the beginning of something very special; we are lucky to be offered a chance to see how this unfolds.

A huge congratulations to all of the nominated artists – Samra Mayanja, Rebecca Chesney, Marianna Simnett and Ann Margreth-Bohl. It was a long, thoughtful and impassioned debate. With each shortlisted artist deserving. A huge thank to our wonderful judges – Jes Fernie, Giles Round, Tai Shani and Amy Sherlock.

As well as reflecting on the winner, the judges felt strongly that each shortlist artist would benefit from time at the studio. The pandemic has exacerbated issues such as time and funds to develop work, affordability and accessibility of studio space and unsustainable work practices. It has also brought terrible new challenges – shows and sales have been cancelled and jobs have been lost. Also most artists have been unable to access any of the government funds due to burdensome red tape and it taking too long to receive funds.

It is something we agree is vitally important and are pleased to do. And we will in future always make the studio available to the shortlist. We look forward to communicating more about this as part of our upcoming 5 year future plans.

Finally, a huge thank you to our brilliant nominators:

Zoé Whitley, Director, Chisenhale Gallery

Sam Thorne, Director, Nottingham Contemporary

Lubaina Himid, artist

Clive Adams, curator

We are so honoured and grateful for their time and support

And a huge and heartfelt thank you to our donors for their gifts small and large and without whom the prize wouldn’t exist

Nigel Greenwood Prize artist shortlist 2021

What a wonderful way to start 2021 – we are pleased to announce the artist shortlist for the Nigel Greenwood Residency 2021:

Rebecca Chesney


Water Lines (London). Imagined future tide lines. Hand embroidery on old map of London.
42 x 70 cm. Cotton thread, paper. 2020.

Snapshot, Colours of the Brecon Beacons. Limited edition lithograph 20 x 71cm. 2016.
96 colours make up the Snapshot range looking at the ecology, geology, economics, industry and history of the Brecon Beacon National Park in Wales, referencing subjects such as climate change, affordable housing gender stereotyping and value and impact of visitors to the Park.
Commissioned by Peak and BBNP.

Rebecca Chesney is a visual artist whose work is concerned with the relationship between humans and nature and how we perceive, romanticise and translate the landscape. Her projects take the form of installations, exhibitions, objects, drawings and maps. She has exhibited with the Yorkshire Sculpture Park, Brontë Parsonage Museum, The Lowry, Nirox Sculpture Park, Peak, Triangle Network, Bluecoat Gallery, Newlyn Art Gallery, Montalvo, Harris Museum and Art Gallery, Springhornhof, In Certain Places, Bolton Museum, Museo Casa Rurale di Carcente and Grizedale Arts.

Samra Mayanja

Psalm 54 and the Deep (2020)

Still from #1 BUSOGA ANTHEM (BAD UGANDAN KARAOKE), (2018)
Full video here

Leeds-based Samra Mayanja describes her film works as seeking to “acknowledge, collect and archive accessible, decentralised and dislocated images of black people and their environments – in an effort to commune disparate voices.” Mayanja studied Economics and went to Leeds Arts University to complete a Foundation in Art & Design in 2017. Since then, Mayanja has exhibited at Signal Film & Media, Barrow-in-Furness and MAMA, Rotterdam, Netherlands. Mayanja has performed at Centre for Live Art Yorkshire (CLAY), Leeds and Kampnagel, Hamburg, Germany.

Marianna Simnett

Hyena and Swan in the Midst of Sexual congress, 2019
The Bird Game (video still), 2020

Marianna Simnett lives and works between Berlin and London. Her interdisciplinary practice includes film, installation, performance, sculpture, music and drawing. Simnett uses vivid and visceral means to explore the body as a site of transformation. Working with animals, children, organs, and often performing herself, Simnett imagines radical new worlds filled with untamed thoughts, strange tales and desires. Simnett has shown in major museums internationally. Recent solo exhibitions include those at Kunsthalle Zürich (2019), Frans Hals Museum, Haarlem (2019), Institute of Modern Art, Brisbane (2019), the New Museum, New York (2018) and Museum für Moderne Kunst, Frankfurt (2018). She is a joint winner of the Paul Hamlyn Award 2020, won the Jerwood / FVU Award in 2015 and was shortlisted for the Jarman Award in 2017.

Ann-Margreth Bohl

Holocene, sandstone blocks, 2018
Letter carving, Bath Abbey, 2015

Based in Stroud, Gloucestershire, Ann-Margreth works in stonemetal and a variety of other materials including sound and beeswax. She’s interested in light, shadow and the passing of time. Her work includes monumental sculptures which are time pieces: they cast a complex and changing series of shadows. Like modern Stonehenges, they’re precisely aligned with the sun as it moves across the sky. Recent commissions include her sculpture Holocene, which formed part of the 2018 Royal Horticultural Society Show Garden at Chatsworth House. Passing Light, originally commissioned for the RHS Chatsworth Flower Show 2017, is now at the National Memorial Arboretum.

A huge congratulations to all of the shortlisted artists.

And a huge thank you to our anonymous nominators and to our judges:

Amy Sherlock, Deputy Editor of Frieze

Tai Shani, artist

Giles Round, artist

Jes Fernie, curator

The winner will be announced next Wednesday February 17th

Details of the selection process here

Season’s greetings and an update on the last year…

As covid events unfolded we took the decision to pause on awarding a new residency place as we anticipated that the people already scheduled to use it would need flexibility to move their dates and we also wanted to be able to offer it to people who have been before and might get in touch to ask if they could use it when travel restrictions allowed it. It’s been important to us to aim to create an extended family and ongoing community and, though we can’t provide additional funding, we invite all residents to return. We were pleased to have made that decision as when it was permitted the cottage and studio was used through the year. For several people it was their first time away from flats without outside space and for everyone it was an opportunity to be able to use a studio without health concerns linked to a commute or shared working spaces.

We also used the time to do some minor upkeep in the house and to plan for the future. The pandemic has really re-enforced what our experience has been since the studio was built and the residency set up, that it is vital for artists to have access to funded studio time away from the pressures of often unsustainable work practices.

More on future hopes and plans to come…

 

We are delighted to announce that the winner of the 2019 Nigel Greenwood Art Prize is Harold Offeh.

Overall judges’ comment:
‘The isolated surroundings of Longformacus offer artists a rural respite and also a particular and unique environment to engage with. The judges were especially excited by Harold Offeh’s thoughtful response to this bucolic setting and his desire to grapple with its cultural and historical connotations. As he states, Offeh’s most recent body of work has been devoted to exploring the presentation of black bodies in the landscape, using popular culture as source material and challenging traditional assumptions around race and class. Offeh aims to use this sustained time in the Scottish Borders to build on and to extend these investigations. “Moving away from given stereotypes of the labouring or victimised body, the project will explore leisure, play and connections to the physical environment … I want to locate black figures in the rural British landscape as a means to create alternative narratives of national identity,” he says. By immersing himself in these hitherto unfamiliar surroundings, Offeh plans to research and develop a site-based lexicon of actions, poses, gestures, costumes and recorded sound.
We are very intrigued to see how, as he states, these interactions will then form the catalyst for a new film and/or performance work. Congratulations to all the artists: the short list was of an exceptionally high standard and we reached our decision after much spirited discussion.’

Judge Sally Shaw, Director of Firstsite:
‘Harold Offeh is an exceptional artist who manages to combine politics, place and pathos with incredible dexterity.
Deceptively simple his works take a direct approach to depicting blackness, black people and black culture in a prominent light to address historical imbalances of representation especially in popular culture.
The humour in Harold’s work is the thing that always gets me. A good joke is an incredibly elegant and generous piece of communication. Harold knows how to pull on all my preconceptions and projections to create an uncomfortable yet not unfriendly battle amongst my various conflicting and probably inappropriate thoughts that collide when viewing his work.
The thought of Harold in the Scottish borders brings all sorts of visions to mind, which of course, I’m sure Harold is pre-empting. His proposal fills me with excitement about a new body of work that will no doubt bring a very fresh perspective to this extraordinary environment that I can only see through a special and very outdated #braveheart filter. I particularly love his idea of reinterpreting Simon Schama’s Landscape and Memory as part of an index of gestures and poses for a new national identity.
I wholeheartedly support Harold’s selection for the Nigel Greenwood prize and can’t wait to hear about his experiences in Scotland.’

A huge thank you to our brilliant judges for their passionate debate and generous gift of their intellect and time:

Sally Shaw, Director of Firstsite Gallery
Louisa Buck, writer
Hana Noorali, curator
Lynton Talbot, curator
Rebecca Heald, curator

Thank you to our wonderful nominators:

Giles Round, artist, nominated Patrick Staff
Tai Shani, artist, nominated Florence Peake
Richard Parry, curator and director of Glasgow International, nominated Georgina Starr
Jes Fernie, curator, nominated Harold Offeh

And finally congratulations to all four nominated artists.

Lounging Covers, 2017 by Harold Offeh

Nigel Greenwood Prize 2019

We are thrilled to announce that the nominated artists for this year’s prize are:

Harold Offeh

Selfie Choreography: Performing with the Camera (2017)

Florence Peake

Rite: on this pliant body we slip our wow! (De La Warr Pavilion, 2018)

Patrick Staff

Bathing (2018)

Georgina Starr

Big V. (2003 and 2019)

It is a phenomenal short-list. We are really honoured. Congratulations to each artist. And thank you to our nominators.

Thank you to Hannah Rickards for these images and the lovely note,

‘… settling in very well here – it is very, very peaceful. Beautiful weather today, I have been sitting on the steps of the studio watching the crows wheel around.’

Longformacus, Spring 2019. Photos by Hannah Rickards

We were really pleased to recently host Paloma Bosquê, winner of the 2017 NG Art prize. Born in Brazil, she lives and works in Sao Paulo and the residency was her first time in Scotland. Paloma was awarded the prize for her wish to ‘contaminate’ her sculptures with the materials of the Scottish Borders. Paloma kindly shared with us some images of work made during the residency.

‘these are a little carved coal that I made. They are a work in progress. I found a pack of coal in the house and found it very interesting. It is not common in Brazil.’

The Nigel Greenwood Prize is delighted to announce that Hannah Rickards and Ima-Abasi Okon have been awarded this year’s Nigel Greenwood artist residencies.

Hannah Rickards receives the Nigel Greenwood Art Prize (3 months/£5000) and Ima-Abasi Okon received the Nigel Greenwood Research Prize (1 month/£1000).

Judges’ statement:

‘The residency is set in such bucolic surroundings that it naturally lends itself to artists interested in the landscape. The history of the landscape has traditionally been a pictorial one however, so what excites us about inviting Hannah Rickards and Ima-Abasi Okon receiving, respectively, the Nigel Greenwood Art Prize and the Nigel Greenwood Research Prize, is that both artists expressed an interest in aural or sonic space, as much as the visual.

We are delighted to select Hannah Rickards as her work, as stated by the artist, is involved with the possibility of thinking oneself into a landscape. In her proposal she put forward some really beautiful ideas in terms of how the experience of being at Gordon Burns’ cottage for a long period of time might influence/translate to language, sound and gesture in her artworks.

And we are delighted to support Ima-Abasi Okon. Spending time at Gordon Burns’ cottage will give her an opportunity to quietly focus on her work as she is approaching the beginnings of a new body of work. In her statement she talked about ‘exploring ways to maximise magic as both an aesthetic and a sculptural act’ and we are really intrigued to see how the context of this residency might influence this research process.’

The judges’ were greatly impressed by the calibre and diversity of the short-list and congratulations goes to all of the nominated artists.

A huge thank you to our brilliant judges and nominators for their time and invaluable support:

Judges 2018:

Oliver Basciano, International Editor, Art Review
Stella Bottai, Curator, Stanley Picker Gallery
Simon Groom, Director, Scottish National Gallery of Modern Art
Sam McEwan, Artist
Stephanie Straine, Curator, Modern Art Oxford

Nominators 2018:

Hana Noorali and Lynton Talbot, Curators, nominated Mark Barker
Louisa Buck, writer and journalist at The Art Newspaper, Alex McNamee
Rebecca Heald, Curator, nominated Freya Douglas-Morris
Sarah McCrory, Director of Goldsmiths CCA, nominated Ima-Abasi Okon
Sally Shaw, Director of Firstsite, nominated Hannah Rickards

There will be a prize event in June, details to follow ….

 

Ben Rivers


Ben Rivers, There is a Happy Land Further Away, 2015, digital video, 20 mins

The EYE Art & Film Prize: Hito Steyerl – Ben Rivers – Wang Bing
EYE Film Institute, Amsterdam, The Netherlands
24 March – 27 May 2018

Maeve Brennan

Brennan’s new film Listening in the Dark opens at Jerwood Space, London SE1, on Thursday 5th April, 6.30-8.30pm. Screening as part of Jerwood/FVU Awards 2018: Unintended Consequences.

Maeve Brennan, Listening in the Dark, 2018

We are hugely excited that it is that time where we can announce the nominees and judges for this year’s Nigel Greenwood Art Prize.

The nominees for the Nigel Greenwood Art Prize 2018 are:

Ima-Abasi Okon
Mark Barker
Alex McNamee
Freya Douglas-Morris
Hannah Rickards

Ima-Abasi Okon

UNTITLED: Art on the Conditions of Our Time
New Art Exchange, Nottingham, UK

Put Something in the Air: The E-s-s-e-n-t-i-a-l Mahalia Jackson Blowing Up
DJ Pollie Pop’s Chopped and Screwed Rendition of Wagner’s Ride of the Valkyries — Military-Entertainment Complex Dub [Jericho Speak Life!], 2017 

Polished brass, acoustic sound underlay, artists’ jewellery, OSB, tulip, red mahogany polyurethane varnish

Mark Barker

Installation view, Southard Reid, 2015

Freya Douglas-Morris

 

Chorus of One, oil on linen over board, 2017

Alex McNamee

Fake Ham in a Fake Rock,HDTV, cement and foam, 2017

Hannah Rickards

Installation view Modern Art Oxford, 2014

The judges for the Nigel Greenwood Art Prize 2018 are:

Oliver Basciano, International Editor, Art Review
Stella Bottai, Curator, Stanley Picker Gallery
Simon Groom, Director, Scottish National Gallery of Modern Art
Sam McEwan, Artist
Stephanie Straine, Curator, Modern Art Oxford

A huge thank you to our anonymous nominators (to be revealed after the announcement of the prize).

And an eternally heartfelt thank you to our funders who make the residency awards possible.

The winner will be announced on Monday March 26th.

Past awardees and nominees news:

Congratulations to Maeve Brennan whose The Drift has been nominated for the Tiger Shorts Award at International Film Festival Rotterdam

Rafal Zajko is very busy. On now is ….

Acts of Translation (curated by Eliel Jones)
March 7–May 15, 2018
Etel Adnan, Alex Baczynski-Jenkins, Beverly Buchanan, John Divola, Lubaina Himid, Hassan Khan, Jumana Manna, Helen Marten, Sliman Mansour, Alice Neel, Lydia Ourahmane, Walid Raad, Malick Sidibé, Mounira Al Solh, Kenneth Tam, Wolfgang Tillmans, Sharif Waked, Rafal Zajko

Upcoming are shows in Prague, Berlin, London and:

UNPUTDOWNABLE
A solo exhibition at The White Cubicle Toilet Gallery.
Thursday March 15th 9pm – 3am at the Queen Adelaide, 483 Hackney Road, London, E2 9ED
with Entertainment from F.L.E.U.R. / Lindsey Mendick Aka Rick Steinz / Sponge Bob no pants/ Lea Collet and Marios Stamatis / Biggie and Babe / Zoee and the Special Guest Ally of Ally Capellino

 

 

Ben Rivers in conversation as part of the Open City Documentary Festival
September 10th, 3pm

‘The relationships between sound, music and image define the meaning and message of any film, be it documentary or fiction. But while the picture is carefully considered in the shoot and edit, sound – and later, music – is often left to fend for itself.

Using The Sky Trembles and the Earth is Afraid and the Two Eyes Are Not Brothers as a case study, Larry Sider from the School of Sound hosts a conversation between director Ben Rivers and sound designer Philippe Ciompi, who will explain their working relationship and the methods they used to effectively integrate image, sound and music.’

Presented in partnership with The School of Sound
SOUND // MUSIC // IMAGE WITH BEN RIVERS AND PHILIPPE CIOMPI
SUNDAY, SEPTEMBER 10, 2017 – 15:00
FESTIVAL HUB: BARGEHOUSE
£5

 

Agnes Scherer’s absolutely wonderful and UNMISSABLE Cupid and the Animals is being performed at the Ludwig Museum in Cologne on Sept 7. If you are anywhere near, GO!

 

Cupid and the Animals … on the Rhine

Donnerstag/Thursday
7. September 2017, 20h
Museum Ludwig Köln

Eine Oper von/An opera by
Agnes Scherer

Mit Musik von/With music by
Camillo Grewe

mit/with

Soya Arakawa
Francisco Aguilera Càceres
José Antonio Aguilera Càceres
Lukas Goersmeyer
Fabienne Kirschke
Katrin Sons
Michael Taylor

und/and

Edmée Brell
Tom Hardwick-Allan
Kurt Heuvens
Lotte Maiwald
Maya Shirakawa

 

Thank you to Charles Saumarez Smith for a kind mention in his excellent blog of the exhibition booklet produced for the recent Nigel Greenwood Inc Ltd show at Chelsea Space. Relieved that Mr Smith found the booklet not ‘dross’ but a ‘nice surprise’.

Nigel represented an era when gallery owners were able to be more interested in the art than the money.   In an interview, he claims that the contemporary art world consisted of 150 people ‘in the whole enterprise worldwide’”.

 

 

Thank you Art Review

Paloma Bosquê has been announced as the winner of the 2017 Nigel Greenwood Art Prize. The São Paulo-based Brazilian artist will undertake a three month residency at a cottage and studio in the Scottish Borders, and will receive an honorarium of £5,000.

Bosquê was chosen by a four-person jury from a shortlist which included Glasgow-based Rachel Adams, Chester-based Jacqueline Bebb, Vilnius-based Augustas Serapinas and Edinburgh-based Hannah Tuulikki. The 2017 jury included Helen Legg, director of Spike Island, Bristol; curator Tamsin Dillon; artist Yuko Shiraishi; and Nicola Lees, director of 80WSE Gallery, New York. Each artist was nominated by a selector whom remained anonymous during the judging process. Bosquê was put forward by ArtReview‘s international editor, Oliver Basciano.

Bosquê currently has a solo show at the Pavilhão Preto at Palácio Pimenta, Lisbon, and is included in the Coimbra Biennial this coming November. The prize is named in memory of the late gallerist Nigel Greenwood, often cited as a key figures in the development of the London art scene, and is coordinated by his estate. Previous winners include Ben Rivers and Katie Schwab.

 

 

Congratulations to the winner of the Nigel Greenwood Art Prize 2017:

Paloma Bosquê

  Bed

 Confidants

 Inverso Duplo

Paloma Bosquê was born in Brazil and lives and works in Sao Paulo. The judges were impressed by her ‘elegant, poetic and romantic’ work and intrigued by her wish to ‘contaminate’ her sculptures, deeply informed by her Sao Paulo context, with the materials of the borders.

And congratulations to Jacqueline Bebb who was awarded the Nigel Greenwood Research Prize.

Thank you to our wonderful judges:

Helen Legg, Director of Spike Island

Tamsin Dillon, Curator

Yuko Shiraishi, Artist

Nicola Lees, Director 80 WSE

And thank you to our nominators (each year we invite five people from across the art world to anonymously put forward an artist, the names are announced only once the winner has been selected):

Simon Groom, Director, Scottish National Gallery of Modern Art
nominated Hannah Tuulikki

Oliver Basciano, Editor (International) and writer, Art Review
nominated Paloma Bosquê 

Stephanie Straine, Curator, Museum of Modern Art Oxford
nominated Rachel Adams

Joe Fletcher Orr, Artist and founder of Cactus Gallery
nominated Jacqueline Bebb

Stella Bottai, Curator, Stanley Picker Gallery
nominated Augustas Serapinas

 

We are thrilled to announce the short-list for the Nigel Greenwood Art Prize 2017

Rachel Adams
b.1985, Newcastle, lives and works in Glasgow

 

Jacqueline Bebb
b.1977 in Chester. Lives and works in Chester, UK, and Portland, US

 

Paloma Bosque
Lives and works in Sao Paulo

 

Augustas Serapinas
b.1990 in Vilnius, Lithuania. Lives and works in Vilnius

 

Hannah Tuulikki
b.1982. Lives and works in Edinburgh, Scotland

 

Nomination process. Each year 5 anonymous nominators, drawn from across the art world (not including commercial galleries), are invited to put forward an artist. The nominators are announced once the winner is selected.

 

 

 

 

 

 

We are hugely honoured to announce that the judges for the Nigel Greenwood Art Prize 2017 are:

 

Helen Legg, Director of Spike Island, Bristol

Tamsin Dillon, independent curator

Yuko Shiraishi, artist

Nicola Lees, Director 80WSE Gallery

Matthew Higgs, Curator and Director White Columns

 

The Drift

 

 

Maeve Brennan’s new film The Drift will be showing at Chisenhale Gallery March 31st to June 4th.

Opening March 30th, 6.30-8.30pm.

Full details here.

 

 

 

Congratulations to Agnes Scherer and the unbelievably talented team involved in Cupid and the Animals, particular mention to Tramps who staged the two deservedly sold-out events.

Unique, beautiful, funny, strange, whimsical, moving and utterly brilliant. The NG Prize are so honoured to have supported it and look forward to future presentations.

Truly wonderful.