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Director of Situations Claire Doherty and artist Stephen Hodge (of Wrights & Sites) give their account of how they developed a contemporary public artwork to reanimate visitors’ experiences of Weston-super-Mare.

Artists Bruce Gilchrist and Jo Joelson and curator Emma Underhill discuss their collaboration on a project to create a sculptural ‘habitat’ that will contribute to the life cycle of birds in two urban garden locations.

Featuring a selection of the UK’s arts organisations that are providing vivid cultural life to rural areas.

Kate Raggett and Mandy Fowler give their recollections of an ambitious one-day land art workshop in rural Herefordshire that involved nearly 200 participants, several bales of straw, and a Cessna aircraft.

Richard Taylor finds out how three artist groups are re-vamping their structures as established organisations, to support new talent and promote a variety graduate activity.

Striving and surviving in the do it yourself art world; curating, managing members, self-publishing. Richard Taylor talks to three recently founded artists’ groups about doing it ‘DIY’, progress so far and what the future holds.

In spring 2010 Spacex invited three UK-based artists to develop new work in response to Exeter’s West Quarter, where the gallery is located. The artists facilitated collaborative encounters and conversations with local residents. Amy Feneck interviewed people about the notion of ‘independent spirit’ in order to develop a script for a new film, Epilogue. Operating from her mobile portraiture studio, Lady Lucy documented encounters in her paintings ‘The Court Portraits’. Volkhardt Müller worked with people to create a series of performed actions on video. Majorette Rehearsing centered around the idea of the majorette as a West Quarter archetype; a paradoxical figure of individual aspiration, community celebration and carnival. For this feature, Volkhardt Müller reflects on his project with Spacex Project Coordinator, Martha Crean.

In June 2009, Matt Roberts Arts was granted a NAN Go and See bursary to travel to Sweden and Denmark for research and development. Emilia Telese talks to Matt Roberts of Matt Roberts Arts about the bursary and its impact on the organisation.

Nick Slater and Kathrin Böhm relate the project by public works and myvillages.org, commissioned as part of Radar’s ‘Group Process’ programme.

Beacon co-director John Plowman and artist Kelly Large discuss the project ‘Our Name is Legion’.

Faye Claridge received a NAN Re-View bursary in February 2008 in order to initiate mentoring with curator Katy Barron. Emilia Telese talks to her about the bursary and its impact.

Brian McClave and Gavin Peacock recall how they joined forces within their artistic careers, and discuss their motives for collaborating.

Andrea Hawkins, Head of Public Engagement at Manchester’s Whitworth Art Gallery and artist Lucienne Cole talk about an innovative approach to publicly-engaged art.

In a world increasingly skewed by notions of commodity and markets, artists and creative practitioners must be proactive in seeking out opportunities that enable them to experiment and take the risks that will drive up the quality of their work.

Lauren Healey discusses Gallery Glue’s relationship to NAN.

Rachel Lois Clapham discusses David Blandy’s Artangel commissioned project Radio Nights that aimed to uncover aspects of nocturnal London that would otherwise be invisible to regular city dwellers.

Kathy Rae Huffan describes Central Asian Project, a programme of residencies and cultural exchange between artists from the UK and Kazakhstan that took place between 2006-08.

Catherine Wilson addresses three collaborative projects by Rio de Janeiro-based Mauricio Dias and Walter Riedweg who develop works with communities and social groups often on the edges of mainstream society.

To preface a new ongoing series exploring relationships between artists and their collaborators, we asked some of today’s most interesting curators for insights into their practices.

The UK boasts literally hundreds of visual arts competitions annually. Here, we look at some of the most significant opens and prizes on offer this year.

Many artists aspire to permanent studio space, whether self-initiated or rented through a specialist organisation. Here, we explore some current options for artists and makers with the focus not only on developments in London but also elsewhere in England, Wales and Ireland.

I’ve been working in and around transdisciplinary practice for the last twenty years now, and have found it to be a fertile and stimulating ground both for those working consistently within it or just passing through, I’ve just noticed that only recently has it started to become fashionable.

Jane Watt outlines the core strengths of NAN and looks to the future.