In this series Romina Provenzi, a specialist of the London art scene, discusses a number of non-profit spaces in London.

During the past decade privately run, non-profit, contemporary art foundations flourished in London. This was surely a new phenomenon in the British art system, which used to depend on public contributions rather than private initiatives, a distinguishing feature of the US art system.

The new era for the British art system began in the late ‘90s, triggered by two key factors. First, the opening of the Tate Modern in 2000, which made contemporary art accessible to wide audiences, and second, the public accessibility of the Charles Saatchi's art collection, and its role in establishing the Young British Artists. These developments attracted mass audiences to the British contemporary art and set a new model for art patrons in the UK, showing that private art foundations could boost public interest in arts. From then onwards the private British art landscape was never the same.

A young, distinguished, non-profit art space that followed in the steps of these early examples was ‘One,One,One,' which opened in Fitzrovia, central London, in June 2007, owned by the property developer and art collector David Roberts. The following year, prompted by the acclaimed success of its early shows, the space was reconverted into the David Roberts Art Foundation (DRAF), a registered charity. To further establish the DRAF as an international hub of contemporary art, its direction was assigned to the Paris based curator Vincent Honoré, a well-known figure in the international art system, who worked as a curator at the Palais de Tokyo in Paris and at the Tate Modern in London, and also contributes to several ongoing projects around the globe. In the view of Honoré, the foundation's mission is clear: "Fundamentally the DRAF is a production unit: a critical platform to encourage artistic dialogues and experiments. We are a non-profit foundation dedicated to supporting contemporary art through a programme of exhibitions and collaborations with international artists and independent curators. We encourage exchanges and we aim to question and challenge the structures of production, presentation and reception of artworks. The main goal of the foundation is based on two words: Collaboration and Exchange".

CAMDEN

The foundation is planning to expand its space and activities in the coming years. A bigger space was planned to open in Camden, North London, by the end of 2009, but it's public inauguration was postponed. Nonetheless, Honoré remarks that "the new space in Camden, at Mornington Crescent, is already operating as a production unit: it runs six artists' studios together with a residency which some artists and curators had already benefited. The building, however, will not become a public space before 2011 or 2012. We want indeed to take our time to open a sensible space in London related to our activities. We also feel that, before opening a new space, we need to consolidate our reputation".

Despite its young age, many believe that the DRAF is projected to join the club of the established and successful non-profit contemporary art spaces in London, like the renowned Whitechapel Gallery, Hayward Gallery, Saatchi Gallery, Gasworks, and Bloomberg Space, just to mention a few noticeable examples. Nonetheless, in the view of many, the DRAF unicity is based on its focus on state-of-the-art research and discussion. In the words of its curator, "the DRAF programme is not narcissistic or self-centered to the point that it often shows artists that the DRAF doesn't collect". The objectives are clear, the cause is noble and the resources are there. Time and public response will determine its success.

Romina PROVENZI
is a writer and lives in London. She writes on contemporary art and is a specialist of the Cuban art market and of the London art scene.

The David Roberts Art Foundation Limited Fitzrovia, 111 Great Titchfield Street, London W1W 6RY, www.davidrobertsartfoundation.com