From MoMA Oxford and ICA to Artangel and Arnolfini – Rob Bowman tells us about his career presenting extraordinary art.
Director of Programme, Arnolfini (Nov 2015–present)
I am three months into my new role at Arnolfini in Bristol. I saw it as a hugely exciting opportunity to join an organisation that is in a process of change, refocusing on its priorities for the future. I wanted to be part of that. And I’ve arrived at a good moment, too: just after Richard Long’s show – the best-attended at Arnolfini in a decade – and as we secured funding from Arts Council England to tour a brilliant work by John Akomfrah.
After Artangel, the biggest shift, apart from a new city and context, has been coming to a building-based organisation. Although in truth, this is only a part of what Arnolfini is. But I don’t believe there’s a relinquishing of possibilities here. I’m intent on holding onto much of what I’ve gained working in different contexts and spaces, and with different people, and ensuring it informs what might be possible in the future.
Head of Programmes and Production, Artangel (2007–15)
The dual nature of this job was a real draw for me. I’ve always seen myself as hands-on, and Artangel only reaffirmed for me how interrelated the development of ideas and the processes of production ideally need to be for me.
I was lucky enough to oversee some great projects, to develop new ideas working with artists, and to collaborate with some highly talented people, in and beyond the organisation. Almost the first thing that happened after I started the job, was a meeting about Catherine Yass’s ‘High Wire’ walk project, shortly followed by a meeting with Roger Hiorns that eventually led to us crystallising a flat in London. Both were ambitious and ‘out there’, well beyond any comfort zone. I should have taken this as sign of things to come!
My main source of personal development was that every project I led brought its own challenges, and new contexts to work in. There was constant change, and a process of growth in facing that, as well as some important lessons about the value of holding your nerve.
Institute of Contemporary Arts (2001–07)
I joined the ICA to organise the annual ‘Beck’s Futures’ exhibition and awards for emerging artists, which was in its third year at that point. I saw a chance to influence a change in direction, but also potential in the unfamiliar experience of working with a major sponsor.
The ICA was very different to what I was used to, demanding but energising, and with an emphasis on working across disciplines.
Running Beck’s Futures was a gift in a way, giving me sight of what our nominators told us were the most promising artists in the UK, over a period of a few years. It was biased towards showing existing works originally, but I instinctively felt we needed to shift to support the making of new work too, and I think that increased the value of the exhibition for artists beyond the cash. Although clearly £25,000 was not to be sniffed at!
After a few years, I became a Curator and worked on other exhibitions. When Jens Hoffmann took the job of Head of Exhibitions, he invited me to co-curate shows like ‘London in Six Easy Steps’ and to work with Cerith Wyn Evans on his solo exhibition. That was a memorable experience and gave us the excuse to tear some walls out. (To be fair, I had a track record in this area, having ripped up a floor for Beck’s Futures.)
Museum of Modern Art Oxford (1994–2001)
MoMA Oxford was my first place of work in the arts. I started out volunteering in the exhibitions department, trying to make myself indispensable. Then I landed the job of Exhibitions Assistant. Although I came with some art historical education, I had fairly scant awareness of contemporary art and art practice at the time. I remember someone telling me just after I got the job that I really needed to pay attention to what was going on around me!
But I got some brilliant opportunities as I moved into curatorial roles. These formed the basis of interests that have grown and stuck with me – my first encounters with site-specific work, freezing cold at 5am on the mainline to Reading, and the chance to organise some fantastic large group exhibitions of photography and moving-image works. There were memorable encounters with exceptional artists too, like Louise Bourgeois and Carl Andre.
My first jobs were important: they fed some of my long-standing passions and allowed some others to grow. And I am still trying to follow the advice to pay attention!
Rob Bowman is Director of Programme at Arnolfini.
www.arnolfini.org.uk
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