Keep Fabrica

This week, Brighton’s premier contemporary arts space Fabrica launches a crowdfunding campaign to protect its inclusive arts programme, following news that cuts in council funding will leave them £20,000 in the red.

Fabrica has hosted contemporary art installations in the former Holy Trinity Church on Duke Street for the past 22 years, bringing artwork by high profile names like Brian Eno and Anish Kapoor into their uniquely atmospheric space. Nowhere else in Brighton possesses such a capacity for displaying conceptual art – and it’s always been free. Stephen Eastwood’s ‘The Interval and The Instant’ installation, which we reviewed here recently, was easily the most thought provoking and moving piece of art we saw last year. Fabrica has never disappointed us, and losing it would be a tragedy for the arts profile of this forward-looking, art loving city.

“There’s so much more to Fabrica than just great art that everyone can enjoy for free”, adds volunteer Jamila Prowse – and she’s right. The Fabrica organization provides valuable outreach work in the community, including a creative lunch club for low income families, and ‘Men In Sheds’, an active programme in Kemptown aimed at reducing social isolation amongst men.

Funding cuts imposed by central government have forced local councils to make savings, and inevitably arts funding has been the first to suffer across the board (Towner Eastbourne have recently seen their budget cut by £200,000). Fabrica director Liz Whitehead explains that although the future of Fabrica looks strong (venue hire is on the up), unless the short term shortfall in funding can be bridged, the exhibition and social outreach campaign may have to be cut and, in a worst case scenario, the doors closed for good.

Fabrica have launched a pledge based fundraiser on – offering a range of rewards based on pledge amount. Rewards range from film passes, art packs and books through to private film screenings, limited edition artworks and dinner in the gallery. Find out more here.

Originally published in Brighton Source


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