Testing Grounds

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Testing Grounds

Testing Grounds

Since November 27th, 2016, Testing Grounds have been receiving live data from the website that provides valuable insight into how people are responding to the project and how this is reflected through the outputs of our creative programming.

1. How many projects have Testing Grounds accepted?

1. How many projects have Testing Grounds accepted?

Yes, Testing Grounds accepted the project 244

No, the project needs more development to meet selection criteria 36

No, the project is inappropriate 26

Yes, but they decided not to use Testing Grounds 22

No, the project required specific dates that were not available 15

The project is in review 4

This data is collected from every EOI that Testing Grounds have received so far.

 

In June 2017 we surpassed the projected number of EOI’s we would receive for that year.

The steady increase in the number of EOI’s we receive, and our healthy acceptance rate of EOI’s, demonstrates our commitment to initiating key actions of the Creative States strategy, which includes;

  • Backing creative talent by supporting creative development, research and experimentation and supporting creative practitioners who want to take a calculated risk.
  • Backing creative talent by providing vital space for development and 1:1 testing, which creates more opportunity for creative practitioners to create landmark works.
  • Backing creative talent by providing opportunities for creative and professional development through residencies and a creative development program.
  • Increasing participation and access by keeping the site free to use for creative projects made by independent creative practitioners.
  • Increasing participation and access by accepting EOI’s from creative practitioners at all levels of practice and by actively seeking EOI’s from people who live in the outer suburbs of Melbourne or regional areas of Victoria, with the aid of Municipal Associations Victoria, local councils, community groups and arts organisations.
  • Increasing participation and access by actively seeking to include creative practitioners of diverse gender, sexuality, ethnicity or cultural identity by consulting with community groups, organisations and creative practitioners.
  • Delivering wider economic and social impact by accepting all creative education-related EOI’s.
  • Strengthening the creative industries by accepting EOI’s from precinct partners and from creative organisations or companies who do not typically have access to the Arts Precinct, which encrouages a diversity of creative practices.
  • Strengthening the creative industries by accepting EOI’s from precinct partners and from creative organisations or companies who do not typically have access to the Arts Precinct, which will continue to activate the Arts Precinct as a co-working space where knowledge and resource sharing is encouraged.

 

 

2. Why does Testing Grounds accept a project?

Experimental 203

203

Site-responsive 74

74

No answer provided 59

59

Education 57

57

Access and Inclusion 56

56

Diversity of creative practice 46

46

Precinct partner 25

25

0

40.6

81.2

121.8

162.4

203

This data is collected from every EOI that Testing Grounds have received so far.

We review all EOI’s and select projects that are considered to be experimental, site-responsive or related to creative education. We value projects that provide access and are inclusive, reflecting a diversity of creative and cultural practices. We also accept projects form precinct partners when we believe it will help to strengthen our creative industry.

3. Why do people want to use Testing Grounds?

Presentation of completed work 90

90

Event 67

67

Responding to Testing Grounds call out 59

59

Residency or development period 50

50

Testing work in development 42

42

Education-related 26

26

Other 16

16

0

18

36

54

72

90

This data is collected from every EOI that Testing Grounds have received so far.

 

 

The infrastructure is designed to support a variety of use from creative practitioners without a specification or prescription of utility. This encourages creative practitioners to tell Testing Grounds what the site should be used for, rather than Testing Grounds telling the creative practitioner what sort of art they should be making. Being site-responsive puts the creative practitioner in the position of being an auteur, increasing self-initiated experimentation and risk-taking that leads to learning. This innovative ideology demonstrates our commitment to backing creative talent by supporting creative development, research and experimentation and supporting creative practitioners who want to take a calculated risk.

Occasionally Testing Grounds calls out for specific projects or for special programming. In 2017, 29 people responded to Testing Grounds call-out for the presentation of completed work during Melbourne Fringe Festival.

4. What type of project does Testing Grounds program?

Exhibition 63

63

Artist-in-Residence 46

46

Event or Festival 31

31

Performance 30

30

Workshop 13

13

Rehearsal / Development 11

11

Live Music / Sound Art 11

11

Interdisciplinary project 11

11

Research project 9

9

Education 5

5

0

12.6

25.2

37.8

50.4

63

This data is collected from every project agreement Testing Grounds has received so far.

 

Reviewed against graph 3 this data tells us if we are programming in response to how people want to use the site.

Exhibitions, performances, arts or community events, live music/sound art, and call-outs for special programing are more commonly presentations of completed work.

5. Who is using Testing Grounds?

5. Who is using Testing Grounds?

As an independent creative practitioner 171

On behalf of an institution, organisation or company 59

This data is collected from every project agreement that Testing Grounds have received so far.

 

 

This data is collected from every project agreement that has been submitted so far. These fee’s or wages are paid either by an institution or company using Testing Grounds or through grants.

6. How many independent creative practitioners received a fee or wage for their project?

6. How many independent creative practitioners received a fee or wage for their project?

No 107

Yes 41

This data is collected from every acquittal that Testing Grounds have received so far.

 

Fees or wages come from institutions or organisations who use the site or grants. When Testing Grounds pays an artist they are not required to submit an acquittal.

7. Gender: Access and Inclusion

7. Gender: Access and Inclusion

Female 140

Male 71

Non-binary/Gender fluid 10

Different identity 7

Trans male/trans man 1

Trans female/trans woman 1

This data is collected from every project agreement that Testing Grounds have received so far.

 

The proportionally high number of females using the site demonstrates our commitment to increasing participation and access in the arts to groups of people who have historically been denied access and participation. We will continue to consult with community groups, organisations and creative practitioners to actively include creative practitioners of diverse gender, sexuality, ethnicity or cultural identity.

 

8. Cultural identities: Access and Inclusion

8. Cultural identities: Access and Inclusion

White Australian 98

LGBTQI (Lesbian, Gay, Bisexual, Transgender, Queer, Intersex) 96

Culturally and linguistically diverse 69

Different Identity 46

A person living with a disability 20

Aboriginal or Torres Straight Islander 13

A person from regional or remotes communities 11

No answer provided 9

A person from regional or remote communities 3

A part of the deaf community 2

This data is collected from every project agreement that Testing Grounds have received since 16th of June 2017.

We ask the question “does anyone in your project identify as the following groups?”. It helps us develop our own cultural competency and we so we can continue to improve inclusion, access and participation in the creative industries. It helps us understand the projects, communicate and effectively interact with the people involved in the projects we accept. 

We want to be aware of people’s world views and continue to promote positive attitudes towards culturally diverse knowledge and practices.

The answers people submit are kept confidential and are not used to discriminate against anyone. We do not ask people for their cultural identity when they submit an EOI because they will tell us in the EOI if it is important to their project.

 

9. Location: Access and Inclusion

9. Location: Access and Inclusion

International 15

Interstate 20

Local 315

This data is collected from every EOI that Testing Grounds have received so far.

 

Testing Grounds has been consulting with Municipal Associations Victoria, local councils, community groups and arts organisations to increase access and participation from people who live in the outer suburbs of Melbourne or regional areas of Victoria. We have also actively pursued relationships with creative organisations interstate to increase access for creative practitioners from all around the country.

The total number for ‘Local’ includes people from outer suburbs of Melbourne and regional areas of Victoria.

10. How did you hear about Testing Grounds?

Word of mouth 167

167

Attended an event 115

115

Social media 22

22

General web search 13

13

By accident 12

12

Creative Spaces website 6

6

Online article 4

4

Creative Victoria website 4

4

Arts Hub 2

2

Printed article 1

1

NAVA 1

1

No response 3

3

0

33.4

66.8

100.2

133.6

167

This data is collected from every EOI Testing Grounds has received so far.

This data tells us that approximately 89% of people find out about Testing Grounds by ‘attending an event’ or ‘word of mouth’. Printed and online articles are in the bottom 11%. This data identifies our current audience as the arts community and, with support, this is significant opportunity to develop new audiences by engaging with popular media or engaging a marketing role.

11. Do you intend to continue with the project or re-present it in the future?

11. Do you intend to continue with the project or re-present it in the future?

Yes 121

Maybe 20

No 5

No response 2

This data shows us that most projects undertaken at Testing Grounds are further developed.

What was the most important feature of Testing Grounds?

All of the above 90

90

Flexibility 10

10

Support 8

8

Availability 5

5

Atmosphere 4

4

Affordability 4

4

Location 2

2

No response 25

25

0

18

36

54

72

90

This data has been collected from every Acquittal we have received so far.

Did you receive funding for your project?

Did you receive funding for your project?

No 107

Yes 37

No response 4

Collected from acquittals

What is the most important feature of Testing Grounds

What is the most important feature of Testing Grounds

All of the above 90

Flexibility 10

Support 8

Availability 5

Atmosphere 4

Affordability 4

Location 2

No response 25

collected from  acquittals