AHRC infrastructure fund MIMA

自从2014年米德尔斯堡现代艺术学院（MIMA）正式整合到大学结构中以来，蒂赛德已经加速了其雄心勃勃的计划，将自己定位于区域文化经济的核心。在此期间，MIMA接待了来自世界各地的50多万游客。受其广泛的活动和展览计划的启发，以及其对展示新兴和知名艺术家的承诺，这些参观者中来自大学和其他研究型和教育机构的比例大幅增长。就在过去的几年里，MIMA欢迎了来自世界各地和各个学科的顶尖学者、学者和思想家，包括索尼娅·博伊斯教授，她领导了一个关于黑人艺术家和现代主义的研究项目；著名环保主义者、英国自然协会主席托尼·朱尼珀（Tony Juniper）曾支持对气候变化的文化化进行为期一年的调查；以及国际当代艺术界的领军人物Otobong NKanga。这些以及其他许多备受瞩目的参观证明了画廊在国际艺术界的地位。它们也证明了其藏品的重要性，尽管有时被低估了。由艺术委员会认证其卓越的意义和国家重要性，收藏-包括三个主要部分（美术，陶瓷，珠宝）-联合米德尔斯堡艺术画廊（1957-2003），克利夫兰工艺中心（1983-2003）和克利夫兰画廊（1973-1999）。作为一个整体，该系列提供了对过去200年来蒂斯山谷（及其人民）的经济，社会和文化生活的迷人见解，以及对主要艺术运动的当地区域表现形式的重要观点，例如工艺中的新材料实验和20世纪英国陶瓷工作室的实践。在这方面，其广泛的陶瓷作品可能尤其值得注意，因为它记录了1920-2020年英国工作室陶器运动的兴起和演变，以及它与当代艺术的许多联系和影响。然而，尽管藏品丰富，但其配套基础设施严重缺乏。事实上，由于其庞大的规模和复杂的存储和展示要求，该系列目前是碎片化的：虽然它的许多关键作品可供公开展示，但其他许多作品目前被存放在现场以外的临时设施中。同样，虽然MIMA致力于尽可能多地展示其技术和策展人员的工作（通常是背景），但其大部分保护和收藏护理工作也在距离MIMA位于米德尔斯堡中部的家很远的地方进行。这不仅是高度劳动密集型的，而且还抑制了藏品的增长和实现其作为MIMA参与、受众和研究战略核心资产的潜力。因此，这个项目的目的是从根本上改变厨房的设施和它展示收藏品的方式。围绕着将画廊未充分利用的教学空间转变为最先进的保护套房和收藏室（包括图书馆、档案馆和数字内容系统），该项目有可能显著加快画廊和更广泛的大学的研究雄心。事实上，我们的目的是让这些空间成为来自整个大学的同事进行研究的中心。

Since the formal integration of MIMA (Middlesbrough Institute of Modern Art) into the University structure in 2014, Teesside has accelerated its already ambitious plans to position itself at the heart of the regional cultural economy. During that time, the MIMA has played host to more than half a million visitors from across the world. Inspired by its extensive event and exhibition programme, as well as its commitment to showcasing both emerging and established artists, a substantial and fast-growing proportion of these visitors arrive from universities and other research-based and educational institutions. In just the past few years, MIMA has welcomed has welcomed leading academics, scholars and thinkers from across the world and across disciplines, including Professor Sonia Boyce OBE, who led a research project into Black Artists and Modernism; Tony Juniper, the well-known environmentalist and Chair of Natural England, who supported a year-long inquiry into the culturalization of climate change; and Otobong NKanga, a leading artist and major figure within the international contemporary art landscape.These and numerous other high-profile visits attest to the gallery's standing in the international art world. They also attest to the considerable, if sometimes under-recognised, importance of its collection. Certified by Arts Council for its outstanding significance and national importance, the collection - which comprises three main strands (Fine Art, Ceramics, Jewellery) - unites the holdings of Middlesbrough Art Gallery (1957-2003), Cleveland Craft Centre (1983-2003), and Cleveland Gallery (1973-1999). As a whole, the collection provides both fascinating insights into the economic, social and cultural life of the Tees Valley (and its people) over the past two hundred years, and important perspectives on the local regional manifestations of major artistic movements, such as new materials experimentation in craft and Twentieth Century British ceramics studio practice. Its wide array of ceramic works is perhaps particularly notable in this regard, charting as it does the rise and evolution of the British Studio Pottery movement from 1920-2020, as well as its many connections to, and influences on, contemporary art. For all its richness, however, the collection is badly lacking in supporting infrastructure. Indeed, as a result of its sheer size and complicated storage and display requirements, the collection is currently fragmented: while many of its key pieces are available for public display, many others are currently held off-site in temporary facilities. Similarly, while MIMA is dedicated to showcasing as much as possible of the (often backgrounded) work of its technical and curatorial staff, much of its conservation and collections care work also takes place at a distance from MIMA's home in central Middlesbrough. Not only is this highly labour-intensive, it also inhibits the collection's ability to grow and to realise its potential as a central asset within the MIMA engagement, audience and research strategy. The purpose of this project, therefore, is to radically transform the galley's facilities and the way that it displays its collection. Centred around the transformation of the gallery's under-utilised teaching spaces into a state-of-the-art conservation suite and collections room (complete with library, archive and digital content system), the project has the potential to significantly accelerate the gallery's - and the wider university's - research ambitions. Indeed, it is our intention for these spaces to serve as a hub for research conducted by colleagues from across the University.