The opening of Nottingham Contemporary is one of the biggest cultural events to take place in the city for over 40 years. ALEXANDER BRITTON goes to see if the hype is justified.
Nottingham has always marketed itself as a city with potential and, with the opening of one of the largest contemporary art galleries in the country, this potential is finally being realised: Nottingham Contemporary is a space worthy of hosting some of the world’s finest contemporary art.
Viewed from a distance, it seems that the lurid green walls are temporary hoardings, yet it is only when the building is up close that the workmanship involved can be appreciated. The giant lace patterns that adorn the building’s cladding suggest a desire to acknowledge Lace Market’s past, rather than attempt to place a beacon of modernity in an area steeped in history. Like or loathe the colour – one critic claimed that it resembled a packet of Benson and Hedges – the building clearly exudes ambition, and with an opening program featuring David Hockney and Frances Stark, the aspiration to create a world-class setting for world-class contemporary art is clear.
The automatic doors slide noisily as the interior of the building is revealed. Comparisons with the Angel Row Gallery are obvious yet necessary. The inadequacies of the former home for contemporary art in Nottingham become all the more apparent when compared with the new setting. At times, the Angel Row Gallery felt like a school sports hall hammered into shape to fit the needs of ‘culture’.
In contrast, Nottingham Contemporary clearly takes influence from the artists that exhibited in warehouses throughout the latter part of the 20th Century, most notably in New York and Berlin. The galleries themselves walk along this tightrope of industrial grittiness and contemporary gilding, but not in an unsettling manner. The art remains the focal point of each room rather than being there to decorate the architecture, with colour used sparingly but effectively in the building’s interior.
The overwhelming feeling of Nottingham Contemporary is one of openness, with large windows along the building’s façade allowing passersby on street level to peer into the galleries.
Upon exploring the lower floors of the building, it is clear how well the space has been used. One of the architects, Adam Caruso, pointed out that, “The close relationship between the interior of the building and the topography of the land means that the character of Nottingham Contemporary has emerged from the site.”
The sandstone cliff that creates the hill of Fletcher Gate has been carved into, which creates the rather unsettling effect of still being at ground level even following a decent of two flights of stairs. On the lowest floor – for ‘ground floor’ would be a misnomer – lies ‘The Space’. This prosaic name is somewhat fitting; the area currently hosts a cinema screen, but with a temporary stage lying behind and the possibility of seating available, the possibilities of this area are numerous.
The site, one steeped in history, having formerly been a Saxon fort, a medieval Town Hall and a Victorian railway cutting, is now host to one of the most important cultural sites in Nottingham. Nottingham Contemporary was a massively ambitious project, but one that was almost necessary; the city was yearning for a space to display some of the finest modern art. The project has been a long time coming, and as long as the programme continues in the vain in which it has started, there is no reason why Nottingham Contemporary cannot be the success that it promises to be.
Alexander Britton
Photos: Jasmyn Decuypen and Stefan Ebelewicz
Tags: art, nottingham contemporary
