It has been exactly a month since Thrift Radiates Happiness closed at Birmingham's Municipal Bank, Broad St.  Here's what everyone's been up to since...

The team:

Charlie Levine, curator - is now the Lead UK Curator for online gallery, Artfetch 

Kate Eagle, project manager - won the Arts & Business Cultural Champion and Champion of Champion Awards for her work on the show, and has recently launched Platform-e Marketing Ltd.

Amy Kirkham, project assistant - will be exhibiting in her final BA Fine Art exhibition at Margaret Street School of Art from the 10th June for a week, times 10-4.

Artists:

Elly Clarke - is continuing to research and shoot participants for her ongoing and acclaimed George Richmond Portrait Project.

Ellie Harrison - the popcorn machines, 'History of the Financial Crises', have been shipped off to Japen to be part of the 'Money after Money | Credit Game' exhibition, featuring other artists including Andy Warhol, and Joseph Beuys opening on the 29th April 2013.

Sparrow+Castice - have recently been awarded an Arts Council England Grants for the Arts Award for more ambitious and touring works - congrats! 

Nicole Wilson - has just been awarded a project grant for a large performance-based mold-making project through Northwestern University called the Graduate Research Grant.  Today is day 1326 of the National Debt Crises project and the show raised $5.92 to contribute to the cause!

Mary Yacoob - will be in a group show opening at PayneShurvell's offsite space in Camden from 2nd May - 15th June.  She will be showing drawings inspired by architectural plans and geometry. 
 
Thrift Radiates Happiness doors open queue.
Image courtesy of Elly Clarke
Elly Clarke, Half Crowns and Petticoats, audio, 2013
Tom Crawford, Millwall Hammer, originally 2011, recreated for Thrift Radiates Happiness, 2013
Image courtesy Elly Clarke
Making Money: Photographs of the Royal Mint by Sir Benjamin Stone, 1898, photographs from the Library of Birmingham Archive
Sparrow+Castice for Investment Project, 2013
Mecanno for Investment Project, 2013
Julie Tsang for Investment Project, 2013
Launch night
Caitlin Griffiths, Exchange (After Tracey Emin’s ‘Interview’), video, 2013 and Account, ink and cheques, 2013
Nicole Wilson, The National Debt Project, letters, 2009 - present
Image courtesy Elly Clarke
Ellie Harrison, History of the Financial Crises, popcorn machines and popcorn, 2009
Either Mary Yacoob or Elly Clarke for Investment Project, 2013
Library of Birmingham Archive print for Investment Project, 2013
Spartacus Chetwynd for Investment Project, 2013
 
Elly & Kate installing 'Half Crowns in their Petticoats'
Sorting out Nicole's letters
Amy and Ellie testing popcorn machines
Amy rolling 'Investment' pieces
Tom installing 'Millwall Hammer' 
Caitlin installing 'Account'
 
Picture
When asked to take an image on the most recent site visit to the Municipal Bank to then show and explain why I took it and why I liked it, I thought I would have been overwhelmed with options.  The Municipal Bank is an incredible building.  There are nooks and crannies everywhere, huge rooms, small rooms, stained glass, secret vaults, original objects, new objects, corners, doorways and mirrors.  But when on site I clicked into curator mode and began being more concerned with which plug sockets work, which lights worked, how could the work sit in spaces where you can’t touch the walls due to its Grade II Listed status, which doors need closing off and how many invigilators will we need and where, that I didn’t take any images at all. 

So I have selected an image of the floor plug sockets in an upstairs office, taken by one of our artists, Elly Clarke, on this same site visit whilst Amy and I were busy testing ground floor sockets.

Charlie Levine
Director, TROVE

 
'Labour & Perseverance (Municipal Bank, Birmingham, November 2012)', Elly Clarke, Photograph, 2012
Elly Clarke is an artist & curator based in Birmingham & Berlin. She is interested in the impact of mobility (of people, information and things) upon sense of self, both when alone and as part of a community, and in the identities we forge both online & offline.

Participation & collaboration play a key role in Clarke’s practise. From The Broadway House Photo Project, (connecting the community through the distribution of cameras and an exhibition) to Moscow to Beijing (trying to bridge the cultural and linguistic gap that stood between Clarke and her fellow passengers); from The George Richmond Portrait Project, (tracing portraits by Victorian portraitist George Richmond RA (1809-1896) to private homes), to her curatorial work via Clarke Gallery (most recently FRAME_birmingham), she is interested in setting up situations that encourage encounters that unearth narratives which might not otherwise be told.

Clarke is also interested in the shift from analogue to digital photography and its impact upon our sense of history, archiving, memory and language.  And in our ever shifting relationship with history in general - through art(ifact), language and architecture.