More Holiday Homes
Folkestone Triennial is the flagship project of the Creative Foundation, an independent visionary arts charity dedicated to enabling the regeneration of the seaside town of Folkestone, in Kent, through creative activity. Working with the people of Folkestone, partners and other stakeholders, the Foundation aims to transform the town, making it a better place to live, work, visit and study.
Since its inception in 2008 (Andrea Schlieker was the curator), Folkestone Triennial has rapidly established itself as a significant event in the international calendar of recurring art exhibitions. It has done so by being one of a small number of contemporary art exhibitions that set out to have an effect beyond the art programme itself, changing the character of the place in which they occur. These exhibitions create a spirit of place through their collection
of artworks, through changes to the physical environment and especially through changes in the thinking of the communities with which they work. In doing so, they transform a village, a town, a city, a community.
Each Folkestone Triennial invites artists to engage with the rich cultural history and built environment of the locality, and to exhibit newly commissioned work in public spaces around the town. Around twenty major artworks are commissioned for each Triennial, with eight or ten remaining in place permanently.
This ambitious process is paralleled in only a handful of outstandingly creative exhibitions around the world, including Münster (Germany), Echigo-Tsumari (Japan), and Santa Fé (New Mexico).
Some of the artworks commissioned for Folkestone Triennial become permanent additions to the townscape. [Creative Foundation].
Here you can see two more of the six ‘second homes’ by Richard Woods that are scattered around Folkestone, all the same except for their colours. The idea behind this is to suggest that no site is too small, too unlikely, or too inconvenient for its neighbours, for a second home. Woods suggests that although the media and construction industries constantly suggest there is a ‘housing crisis’ (so increasing the price of land and housing), the booming market in ‘second homes’ represents a crisis not of housing supply but of economic inequality.
More Holiday Homes
Folkestone Triennial is the flagship project of the Creative Foundation, an independent visionary arts charity dedicated to enabling the regeneration of the seaside town of Folkestone, in Kent, through creative activity. Working with the people of Folkestone, partners and other stakeholders, the Foundation aims to transform the town, making it a better place to live, work, visit and study.
Since its inception in 2008 (Andrea Schlieker was the curator), Folkestone Triennial has rapidly established itself as a significant event in the international calendar of recurring art exhibitions. It has done so by being one of a small number of contemporary art exhibitions that set out to have an effect beyond the art programme itself, changing the character of the place in which they occur. These exhibitions create a spirit of place through their collection
of artworks, through changes to the physical environment and especially through changes in the thinking of the communities with which they work. In doing so, they transform a village, a town, a city, a community.
Each Folkestone Triennial invites artists to engage with the rich cultural history and built environment of the locality, and to exhibit newly commissioned work in public spaces around the town. Around twenty major artworks are commissioned for each Triennial, with eight or ten remaining in place permanently.
This ambitious process is paralleled in only a handful of outstandingly creative exhibitions around the world, including Münster (Germany), Echigo-Tsumari (Japan), and Santa Fé (New Mexico).
Some of the artworks commissioned for Folkestone Triennial become permanent additions to the townscape. [Creative Foundation].
Here you can see two more of the six ‘second homes’ by Richard Woods that are scattered around Folkestone, all the same except for their colours. The idea behind this is to suggest that no site is too small, too unlikely, or too inconvenient for its neighbours, for a second home. Woods suggests that although the media and construction industries constantly suggest there is a ‘housing crisis’ (so increasing the price of land and housing), the booming market in ‘second homes’ represents a crisis not of housing supply but of economic inequality.