(It's all) Tropical is an artist led curatorial collective based in Leeds, Sheffield and London.


The poet will have to do all in his power, passionately, flamboyantly, and with generosity of spirit, to increase the delirious fervour of the primordial elements.[i]

stand against nothing and be ready for anything.

MAKING place for whatever you are brave enough, beautiful enough to draw out of the realized self. [ii]

We believe that your talent is valuable. We create scenes for experimentation and engagement.
Don’t be afraid to put yourself out there. Tap into the larger vision of a your generation.
Create happy cultural arenas of shared creative endeavour. Believe in yourself and you can achieve anything. Instead of making cathedrals out of Christ, man or life, we are making [them] out of ourselves.[iii]

Communities don’t only work in theory. It takes practice. Let’s stretch out eager and hopeful hands. Combat alienation through comradery and cross-contamination. Hybridise.

Auto-creative art is art of change, growth, movement.[iv]

Take Heart.
Be Proud.
Keep Creating.

True art is unable not to be revolutionary, not to aspire to a complete and radical reconstruction of society.[v]

Push what’s possible, throw a big party, pool your inspirations, point fingers at the present, don’t worry too much about the future. If you build it the future will come. Don’t questions things. Make things happen. Find solace in your work and each other. You are not alone. Hallucinate the Promised Land.[vi]

Vanity is a virtue just like self-scrutiny.
No one is going to love you if you don’t first love yourself.
We just want to be loved.[vii]

Because you compare yourself to no one, nothing compares 2 u.
We are not isolated by competition. We are elevated by interaction. We are exclusively inclusive.
We propose an autonomous organization of the producers of the new culture.[viii]

Surprise, subvert, take note, embrace lateral thinking, material excess, and the transformative power of non-hierarchical processes. Holocracy operating for the shared values of art making.

I am for art you can sit on. I am for art you can pick your nose with or stub your toes on.[ix]

Pleasure is a serious endeavour. We recognise the universal pursuit of glamour and invert its means and desires into the pursuit of creative freedom and materiality that is handmade and blatant.
Snatching power from the relentless churning machine of consumption with many sweaty digits.
You can take things in better, more completely, with your ten fingers, pores and mucous membranes than with only two eyes.[x] To create our own culture of appreciation, consumption and exchange.

Embrace the ability to brand yourself. 
(‘Of course, never any doctrine, only perspectives’)[xi]
Relationship status: it’s complicated
Art is a _________ concept, exalted as _____________,[xii]

Art is never an end in itself, organisation is never an end in itself. Art and organisation offer infinite new possibility. We embrace the power of now and the spirituality of stuff. The auditoriums present only the most boring logic, demonstrations of trivial truths, instead of the cheerful sound of glass pitchers against empty heads.[xiii]

Superficiality is hyperreality.
Keeping the life of the material alive also means bringing its spirit to life.[xiv]

Champion the manifestation of ideas, the electricity of people acting together, and the inherent artistry of instigation, provocation and participation. Layer the representational deluge of the here and now and make something palpable, rich, strange, shameless, malleable, uncertain and capable of existing in ways that have never existed before.

It does not matter if it is a failure. Failures are to be desired as long as they are complete, stretched to their limits.[xv]

Everything has relevance beyond the spectacle.
Art gives transience to the trappings of the human conscience.
Never-ending metanarrative on the inescapable presence of existence.

Life is the Past and the Future.
The Present is Art.[xvi]

Create experiences where art is celebrated and appreciated as a the triumph of imagination and a tool of perception. Art allows the mind to travel to on unexpected journeys. We are without shame and without pretension. We invite artists to take on new methods, challenges and means of participation. We act as a catalyst for creativity.
Fabrication = Performance. Interpretation = Performance.
Bringing artists together, encouraging and testing new ideas.
Bring things closer together. Complicate them.
Allow for spillage, swappage, collateral damage, free economies and special deliveries.
Playfulness carries subversive potential.
Seriously not taking ourselves too seriously.
Present emerging art is ways that lets artists find new ways of communicating, adapting and making. Contribute to a scene that refuses to sit still. Channel your shared sentiment, create conflict. Collaborate. Deliver exhibitions that suspend people between a hundred points of reference.
New encounters escape the conformities of art and life.
Be unapologetic, tactile and messy with the work, make it impossible to ignore. Don’t give the people what they want, give them what they didn’t know they wanted until you gave it to them.


[i] F.T.Marinetti, The Foundation and Manifesto of Futurism, 1909

[ii] Mina Loy, Aphorisms on Futurism, 1914

[iii] Barnett Newman, The Sublime Is Now, 1948

[iv] Gustav Metzger, Auto-Destructive Art, 1960

[v] Andre Breton, Diego Rivera, and Leon Trotsky, Manifesto: Towards a Free Revolutionary Art, 1938

[vi] Alex Danchev, Introduction, in 100 Artists’ Manifestos: From the Futurists to the Stuckists, 2011, p.28

[vii] Gilbert and George, cited in 100 Artists’ Manifestos: From the Futurists to the Stuckists, 2011, pg.382

[viii] Guy Debord, Situationist Manifesto, 1960

[ix] Claes Oldenburg, I Am for an Art, 1961

[x] Paul Neagu, Palpable Art Manifesto, 1969

[xi] Guy Debord, cited in 100 Artists’ Manifestos: From the Futurists to the Stuckists, 2011, pg. 347

[xii] Michael Betancourt, The ­­­­­­­­______________ Manifesto, 1996

[xiii] Vladimir Mayakovsky, A Drop of Tar, 1915

[xiv] Jiro Yoshihara, The Gutai Manifesto, 1956

[xv] Derek Jarman, Manifesto, 1964

[xvi] Wyndham Lewis, Our Vortex, 1914