Issue #17 - July 2019 News, Reviews & Whatâ€™s On. Your monthly update on visual art in the Liverpool City Region
Cover image: credit, Self portrait open mouthed as if shouting bust, Rembrandt (1630) ÂŠ Ashmolean Museum, University of Oxford
LIZ MAGIC LASER
12 JUL - 6 OCT 2019
88 WOOD STREET fact.co.uk Top image: Still of Zahid Iqbal/thelanceersinc, graphic designer on Fiverr, Pakistan. From In Real Life, 2019 by Liz Magic Laser. Courtesy of the artist. Bottom image: Candice Breitz, Sweat, 2018. Featured here: Nosipho ‘Provocative’ Vidima. Courtesy of Goodman Gallery (Johannesburg), Kaufmann Repetto (Milan) & KOW (Berlin).
Art in Liverpool magazine is a monthly newspaper promoting visual art across the Liverpool City Region.
Art in Liverpool, issue #17, July 2019
Published by Art in Liverpool C.I.C. and written by contributions from our partners, supporters and most importantly, volunteer writers, who add a unique voice to arts writing in the UK, thinking differently about what actually matters to people visiting galleries. To contribute, or submit your events and exhibitions, email: firstname.lastname@example.org We’re here to support galleries and creative spaces, so make sure to keep us up to date about your events at least two weeks in advance of each issue. If you’d like even more of a presence in the magazine we have advertising available every month, and take bookings well in advance. For details on pricing and deadlines contact Patrick: email@example.com Keith Haring is open at Tate Liverpool until 10th November 2019
issue #17, July 2019 Editor: Patrick Kirk-Smith Contributors: Lorraine Bacchus, Samantha Browne, Sophia Charuhas, Julia Johnson, Moira Leonard Advertising, sponsorship, distribution, stocking & event enquiries should be sent to firstname.lastname@example.org Art in Liverpool C.I.C. Company No. 10871320
We’re getting to work, this month, on a programme I’ve wanted to make happen since I began editing Art in Liverpool. It invites refugees, asylum seekers and vulnerable migrants into gallery spaces to share their stories and reflect on those being told around Liverpool’s galleries. I left a job teaching English as a second language to focus on editing Art in Liverpool in 2016, and have missed the direct connection. I love writing for this paper, and reaching everyone it reaches, but the reality is that it tends not to reach those new to the city, or to the country, until they’ve settled comfortably in their new home. And frankly, that takes time. For most refugees moving to Liverpool, there is more on their mind than engaging in the arts, but there are some whose creative drive is limited by the lack of a clear creative offer for them and their families. While teaching, around 10% of my
students were from creative backgrounds, whether they were journalists, ceramicists, designers, film makers, joiners, heat engravers, or painters. They had no idea how to access creative spaces, let alone jobs. This programme provides access to creative people and places for those looking to engage, and in having the opportunity to tell their stories, a chance to become an active part of this city’s creative network. Tate Liverpool are hosting the 24 month programme, and we’ll have something to mark the 12 month half-way point as part of next year’s Independents Biennial, but that will be directed and led by the programme’s participants, so we have an exciting year of waiting to see. For now though, we’ll just get to work on making it happen, with thanks to Liverpool City Council’s Our Liverpool fund for helping to make it happen.
Review: Keith Haring at Tate Liverpool
Keith Haring hasn’t ever had a solo show in the UK. Yet for some reason I feel a closeness to Haring that has been built on familiarity through books, TV and the World Wide Web. Having had the privilege of seeing his work in person, that scale which I’m so familiar with was blown to pieces. His work is far larger, far more demanding of its viewers’ attention, and infinitely more revealing about a snapshot of human life I have not, until now, truly understood. Infinitely and intimately different to what I expected. An outstanding exhibition of unexpected scale and ideas from an artist who was, up until now, a straightforward visual icon. The spaces seem designed to specifically encourage lounging in front of the work. I should probably apologise in advance to any curators who may find my shoe prints on the seats, but this was an exhibition that engaged an instinct to take ownership of a space; that same sense of ownership that has feet on seats of trains and busses. I was half an impulse away from blasting Spotify from my phone. It can’t be understated how well the curators, Darren Pih & Tamar Hemmes, have done in bringing Haring to life with this show. The Keith Haring Foundation, which has helped bring this exhibition to life, is run by Julia Gruen, Haring’s former studio manager. The passion she feels for Keith is crystal clear, and there is an obvious generosity in the archive handed over to Tate Liverpool for the show. The archive includes everything from works cut directly from the walls of New York’s underground, to the fingerprints the police took from the artist for making them. And it is this which provides the other inescapable notion from this exhibition, which presents Keith Haring as an indispensable friend. The films, the lightness of touch, and the confidence in his own decisions aren’t timid. He comes across as a brave and unencumbered man
who made mistakes and embraced them. There’s a joy to his work, and to his films, and to his self in documentary film that lets you into a piece of his life If you were hoping for the pop art greyness of Andy Warhol presented as a neatly catalogued list, this isn’t that. While Warhol was one of Haring’s most famous contemporaries, and someone he became close to during his upsettingly short life, their work is incomparable. The 2014 Warhol exhibition at Tate Liverpool didn’t have the excitement of Haring. If you think you know Warhol, you probably do. Haring’s work is multi-dimensional, but beautifully accessible. The campaign in the run up to the exhibition, and the promo around the city centre, and pasted in gallery windows is based on the Haring we know; straight forward; comic; daring, but simple. The exhibition is the opposite. It’s a simple twist on expectation vs a much greater reality. The result will likely be the foundation of many new creative ideas, and many new creative people. Sometimes it takes an artist we’re comfortable with to make us listen, and this time, that artist uses our attention to teach us a whole new way of working; a way of constructing and envisioning powerful messages. I’ve fallen for Keith Haring, and not I want to know more. -Keith Haring is at Tate Liverpool until 10th November Words, Patrick Kirk-Smith
Review: Rembrandt in Print, Lady Lever Art Gallery The first thing I learn about Rembrandt in Print is that the artist’s full name is Rembrandt Harmenzoon Van Rinj. For some reason I had assumed that Rembrandt was his surname like Johan Sebastian Bach where we all know him as Bach, but no, Rembrandt is his first name. ‘He was the son of a man named Harmenzoon and he was born by the river Rinj in the Netherlands’ Xanthe Brooke, Curator of Art Galleries at the National Museums Liverpool tells me. 350 years since his death and forming one of the highlights of Wirral’s Year of Culture, the Lady Lever Art Gallery in Port Sunlight is showing 50 of the ‘best of the best’ prints from the Ashmoleon Museum, University of Oxford. These prints have never been shown together before and they have been handpicked to show the full scope of Rembrandt’s ability as a printer. Xanthe explains that whilst etching had already been invented in the 16th century, most artists at the time focused on the wood carving technique with the resulting plate being passed on to a professional printer. So the artist was effectively at the mercy of the printer to realise their vision. Rembrandt however, had his own printing press, so he was able to experiment and develop techniques that allowed him more artistic interpretation in the printing process and gave him full cntrol from beginning to end. As a result he invented ‘Dry point’ etching, where he would leave the ‘burr’ behind after scraping into a metal plate,
thus allowing more ink to be retained on the plate creating softer, more velvety lines on the paper. Whilst this was an amazingly successful technique to create his striking images initially, the downside was that only a limited number of prints could be made from each plate before the ‘burr’ was worn away. Therefore, these type of Rembrandt prints are very rare indeed and you can see serval of them in this exhibition. The most famous example is ‘Christ Presented to the People’ which is hanging in the second room of three. It is one of only eight prints of this composition in the world, six of which are in private collections. There are other versions of this print in circulation, but they do not have the crowd scene in the foreground. Xanthe tells me that Rembrandt decided to erase the crowd as he wanted the confrontation to be directly with the viewer rather than with them. She also explained that the printing plate was so large that Rembrandt had to add an extra strip of paper to complete the picture, and if you look closely towards the top of it you can see where the join has been made and cleverly disguised. The paper he used for this print was imported from Japan due to its smooth, shiny surface and yellowy tone, which you couldn’t get on western paper at the time. The Japanese paper wasn’t as absorbent either, so it could hold the ink a little longer to create very dramatic results.
Living in the Netherlands at the time was a stroke of luck for Rembrandt as the Dutch East India Company had the sole rights to Japanese imports through Nagasaki, which meant it was relatively easy for him to obtain this paper. Two other highlights in this Exhibition for me are: ‘The Star of the Kings’ at first glance it looks like a black print with a couple of light points in it, but when you magnify it, you can see it is a star shaped lantern being carried by children as they go door to door on the Feast of Epiphany, plus there are a few characters lurking in the background that you may otherwise miss. ‘Abraham Entertaining the Angels’ is another beautiful example of the contrast of hard and soft lines on the page. The interpretation panel explains ‘Here the patriarch is holding a jug and playing host to three strangers who have appeared outside his house. Abraham’s hospitality is rewarded by the Devine visitors who then predict that his elderly wife shall finally bear him a son. Sarah is listening behind the door while their future son Isaac is wielding a bow in the background’. Also in the exhibition are: examples of his nudes; his landscapes; self-portraits; portraits of his family and; not one to shy away from the harsh reality of 17th century peasant life, there are some gruesome images in the exhibition too. These include a beggar peddling dead rats and a large sow being prepared for slaughter. So there is much to see here. Sadly, this is Xanthe’s last exhibition at the National Museums of Liverpool as she retires next month after over 30 years at the helm. Her insights have always brought her exhibitions to life for me and I will miss that, but Rembrandt in Print is a great exhibition to end her NML career on. So, in summary, knowing the background to the printing techniques and how special Rembrandt’s talent was in this area, really helped me get the most out of such an intricate Exhibition. If you use the magnifying glasses and get up close to the images, most of which are really small, I am sure you will love it too. -Lady Lever Art Gallery, Runs until 15 September 2019 Words, Moira Leonard
Review: Fearless Creatures at The Gallery Liverpool Club kids, whether in photos, films or occasionally on the streets of London’s Soho, were a formative inspiration for me when I was making my first forays into nightlife. Cliche as it may sound, they stood for a world far beyond the suburb into which my teenage self couldn’t comfortably fit. These clubs and the people who were photographed frequenting them offered hope, acting as spaces where selfexpression was not only permitted, but could be interpreted in seemingly limitless ways. Fearless Creatures at The Gallery takes me right back into that world. Alex Gerry has documented the inhabitants of clubland for over 30 years, and these photographs span the whole duration of this career. Not that there’s exactly a sense of time passing – this unique strand of nightlife has had its own evolution, one on which the fashion conventions of the outside world have had very little influence. As a dedicated documenter of the scene, Gerry’s captured a variety of facets of how the scene is interpreted. Club Kids is a term which immediately invokes the outrageous, and infamous characters such as Leigh Bowery and Pete Burns of course feature here. But while attention might be most attracted to the extremes of PVC and inflatable wigs, a good dress and dramatic eyeshadow are of equal interest to Gerry. What’s of real interest is the personality the look projects; is it more appropriate to say
that these images are populated by people, or characters? The performative aspect, what this look is chosen to say about who you want to be, is crucial.
much left in the hands of the subject, as is only fitting when individual approaches have been so carefully planned and executed.
Gerry’s photographic style does justice to the scene he’s capturing. For a world which comes to life at night, high-contrast brilliance is important. The scene is set with details such as neon lights streaking around the face, or drinks blurred by excited movement. But the storytelling is very
Dressing up to go out can always be a pleasure, but it takes a unique confidence to take that to this level. These club kids are doing more than simply making a fashion statement – although it’s also that – they’re creating their own world, and Gerry has done a fine job of documenting it. Fearless
Creatures captures a world which is still full of that sense of unlimited potential to become whoever you want to be. A scene, yes, but one where anybody can have a space. -The Gallery, until July 7th Words, Julia Johnson (Messy Lines)
Review: Cross Pollination, The Atkinson A celebration of floral art in many different forms, ranging from 1740 to the present; flowers everywhere, what could be more uplifting?
It was the inclusion of the painters, Ivon Hitchens and Duncan Grant, which initially lured me to the show. And whilst it was a rare treat to see these two contemporaries alongside each other, the added bonus was to be surrounded by so many other artists who were previously unknown to me. The curator, Stephen Whittle, has done a terrific job in selecting and bringing together a wide cross-section of works from The Atkinson’s own extensive archive as well as others from the Arts Council Collection. There are also digital works from Sedition Art, an online platform for selling, collecting, or renting art in digital format (www.seditionart. com). This is a new concept to me, that of building up a visual ‘play list’. Once a work has been purchased it can be viewed on any device, i.e. you can take the artwork with you wherever you go. In this, it made me think of the idea as the modern version of Duchamp’s Boîte-en-Valise, which were his portable, miniature monographs. A digital reworking by Gordon Cheung of a 17th century Dutch still life painting is one of the first works one encounters at the Atkinson’s exhibition and you can also see him talking about the advantages of being digitally ‘portable’ on the Sedition site.
There are quite a few contrasts in this exhibition and one of the most startling is between the traditional still life paintings at the beginning and the saturated colours of two works at the far end of the gallery. These are both from the creative partnership of Tony Heywood and Alison Condie, who describe their work as ‘horticultural installation art’ (www.heywoodandcondie.com). Their focus is on new ways of engaging with and representing landscape and nature. Here, the installation, ‘Natural’, is based on the Japanese Zen garden. It is made of brightly painted casts of rocks, planted onto grounds collaged together from sections of yoga mats. Each painted rock represents a flower from the artists’ garden in Formby, to where they have recently relocated from London. Their other screen-based work looks digital but is actually an analogue pouring of paint over glass to represent all the colours in their garden. Also at this end of the gallery is a Gary Hume silkscreen print, ‘Vicious’, the inspiration for which came from two sources. The first was Lou Reed’s song of the same name, with its opening lyric ‘you hit me with a flower’. The second was an athletic statue of Mussolini, which Hume used as a dark silhouette to overlay on the background of flowers – a menacing juxtaposition that reflects the title. Stephen explains that his aim in curating this exhibition was two-fold; “firstly to show how the floral still life genre has changed over time and secondly to provide a commentary on the clichéd association of women with flowers”. One way
he has approached these aims is through a most unusual audio guide – that of poems being recited for almost all the 37 works on show. An example is the pairing of Henry Schlesinger’s sentimental painting of a young woman holding a rose to her cheek with Dorothy Parker’s cynical poem, ‘One Perfect Rose’. Another provocative poem is ‘Mr Punch Speaks’ by Adrian Henri, which accompanies Arthur Ballard’s ‘Punch and His Judy’. This is a double portrait of the artist and his much younger wife, which is based on Manet’s ‘Olympia’. In both paintings, flowers are presented as a gift from a lover, ignored in Manet’s painting and carelessly discarded in Ballard’s. The poems are all read by Maria Isakova-Bennett, an awardwinning, multi-talented poet and artist from Liverpool (www.mariaisakova.com). She has written most of the poems on the audio guide in response to the artworks. Stephen has chosen others, among them works by poets such as Emily Dickinson, Michael Longley, Wendy Cope, William Blake and George Eliot. I confess to not being a great fan of the usual audio guide, so I first went round the exhibition without it. But then the experience of standing before the artworks listening to Maria’s recitals added a whole new dimension to the viewing, making it a contemplative and intriguing coalescing of the visual arts and words.
Review: Astronomy Photographer of the Year, World Museum deepen appreciation for the experience that the images captures. As one of the photographers said, “The longer I remained still and just watched, the more my eyes adjusted to the stars twinkling… This image is a homage to the peace and wonder that I felt.” (Dave Brosha, Deep Space) This year’s competition coincides with the 50th anniversary of the moon landing on July 20, 1969 and was judged by a panel including both artists and astronomers. It is easy to forget, especially when living in a city that is well-lit at night, that the sky we wander beneath every day is so full of wonder. Though I have never had the privilege of producing brilliant night photography myself, I appreciate the patience and work that go into astrophotography and creating such images. I became so lost in the beauty and wonder of the display at World Museum that I quite lost track of time. The experience is truly mesmerizing. The exhibition will remain on display through September 1st and is definitely worth a visit. I recommend taking time to relish it. It is free to enter and open daily, 10am-5pm. -At World Museum until 1st September Few sights are more awe-inspiring than the sight of a sky full of stars. The Royal Observatory Greenwhich’s Astronomy Photography of the Year exhibition captures that awe, along with other outer space-related images that are equally breath-taking. 2018’s competition received over 4,200 entries, with only about 100 making it into the exhibition at World Museum. These truly remarkable images span categories including people and space, sun, stars and nebula, and moon. Some capture astronomical events, such as a solar eclipse
or aurora lights. They were taken by a diverse range of photographers, spanning all age ranges and numerous nations, including China, Canada, the United States, Poland, Spain, and many more. Some are experienced and others are amateurs. The photographers exhibit creativity in the types of equipment they used, as well as exposure times (some photographs were layered, with different exposure time for the foreground than for the background). Every photograph has a story behind it, and many of these photographs are accompanied by a brief statement from the photographer, which serves to both provide context and
Words, Sophia Charuhas
Maria had only a month to write the poems for this exhibition, which worked out at about one a day, something she says is not her usual way of working: “It was quite a challenge. Usually it can take me up to nine months to finish a poem. I put them away and then go back to them from time to time. But this commission forced me to let go of them quickly and to explore something completely different in my writing. It feels like something really special, a real gift”. But even without the hoped for addition of the skirt, this exhibition is a visual and aural delight that has been put together with great care and imagination. And the good news is that it’s on until March next year, so there is plenty of time to see it. There are no talks planned to go with this exhibition but guided group tours can be arranged through the Gallery. Sadly there is no catalogue of the show – funding being scarce for such things. But it would have been a gem to have all the images of the works, the stories behind them, a printed version of all the poems – maybe even a CD of Maria reading them. Given how long the Exhibition is set to run, maybe there’s a benefactor out there who’d like to make this possible! -The Atkinson, until March 2020 by Lorraine Bacchus
Review: Inspired by Alice, The Atkinson
A pair of closed curtains mark the entrance to the Inspired by Alice exhibition at The Atkinson in Southport curated by Joanne Chamberlain. In the field of psychology and neurobiology the process of opening a pair of curtains represents a mental and emotional openness and it is in this cerebral state, amplified by a feeling of excitement, and just a hint of trepidation, that one steps onto the artificial turf- covered floor of gallery three. The exhibition is promoted as an immersive experience, examining the continuing fascination with the novel Alice’s Adventures in Wonderland by Charles Lutwidge Dodgson (1832-1898) written under the pseudonym Lewis Carroll. Second only to the bible, the novel, written in 1865, is the most published book in the world and like a prismatic compass, the exhibition points you with accurate observation to the novel’s stellar points of inspiration over the last 150 years. For example, there are the five limited-edition prints by the surrealist artist Salvador Dalí (1904-1989), which are part of the twelve illustrations he created for the book Alice published in 1969 by Maecenas Press. Other unique items ‘inspired by Alice’ and on loan from the Governing Body of Christchurch, Oxford, include nine Lewis Carroll sketches from 1863-1864 related to the novel, and a chess set handmade by the American artist Margaret (Meg) Emes Chappell (1952-2001). Although Lewis Carroll wrote the novel in Oxford and died there, he originally came from the North West. Indeed, the legendary character of the Cheshire cat takes its name from the county in which Carroll was born, his birthplace being Daresbury, near Warrington. Several books on display, namely Lewis Carroll and Cheshire by Arthur Whimperley published in 1991, and Lewis Carroll Child of the North by Anne Clark Amor published in 1995, underline this
connection. For fans of the Cheshire feline there is also an original illustration of the cat by the famous author Mervyn Peake (1911-1968). Inspiration is defined as the process of being mentally stimulated to do or feel something creative. The perpetuity of this definition is brought to the fore with the plethora of modern media ‘inspired by Alice’. Notable highlights include the oil painting entitled Alice Issues by local artist Lisa Langan, Shelly Allison’s white rabbit and jewellery designed by Trick or Treat Crafts, which are available for sale. An intriguing piece is by Steven Talbot entitled “The loveliest garden you ever saw” from Down the Rabbit Hole, Alice in Wonderland in which you have to bend down so as to look through a keyhole, replicating that Alice moment,
upon which you will see a vista of flamingos and flowers. Similarly, an animated picture of a ‘speaking’ Dodo, voice-over by Martyn Griffiths, has a mesmerizing quality. For the young at heart a table set in the spirit of the Mad Hatter’s Tea Party complete with dress-up costumes awaits. Barbara Lee Fredrickson (b.1964 ), an American Professor of Psychology, suggests, in her broaden-and-build model, that emotions such as joy and love broaden a person’s available repertoire of cognitions and actions, thus enhancing creativity. Perhaps therein lies the secret of why the novel inspired and continues to inspire artists through the ages. When you exit through the curtains you cannot help but leave with a sense of having been to a wonderland of inspiration, awestruck
at how the words of one man has had such a ripple effect, connecting humanity through the decades. In this the curator has achieved a curatorial feat to be highly applauded. In homage, the final word must be left to Lewis Carroll, however after seeing this exhibition it is a statement, spoken by the King in the novel, that seems to resonate with a new truth: “Begin at the beginning… and go on till you come to the end: then stop.” -Gallery 3, The Atkinson, Southport, until 7th September 2019 Words, Samantha Browne
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Major Outdoor Spectacle to Launch LEAP Festival 2019
The acclaimed dance festival will begin at Constellations with WILD, a new show from masters of dance-circus production, Motionhouse. In its 26th year, Liverpool-based festival LEAP takes over venues across the city, in a landmark change to how dance is programmed in the North West. Taking a lead from MDI’s new Director Martina Murphy, LEAP will feature sited and staged work along Hope Street and in major venues including Constellations, Invisible Wind Factory, Unity Theatre and Bluecoat. Launching on Thursday 3 October, LEAP brings dance to the bustling music venue and Baltic Triangle favourite Constellations. For the opening night, the thriving Baltic bar will play host to global touring production company Motionhouse, known for their stunning large-scale performances including the opening ceremony of the London 2012 Olympic Games.
Integrating dynamic choreography, acrobatic movement and hand-to-hand partnering, the newly premiered WILD (Brighton Festival, May 2019), will be staged atop an urban forest of industrial scaffolding in Constellations’ outdoor space, in a breathtaking show for audiences both inside and outside the traditional dance world. Over the following 10 days, LEAP will offer a platform to aspiring local Dance Artists, as well as internationally renowned performers in a celebration of cross-artform storytelling through movement. Seke Chimutengwende & Alexandrina Hemsley’s Black Holes, Rosie Kay Dance Company’s Fantasia and Neon Dance’s Puzzle Creature are amongst the big name artists and companies already confirmed to perform this autumn. MDI’s Director Martina Murphy says: “Liverpool has long been a city associated with music; from Merseybeat to today’s variety of festivals for every genre imaginable. Dance isn’t possible without music, and I want LEAP to
make that connection this year – bringing dance to the venues where music never stops, to a city that so clearly wants to dance!” Further dance, comedy and otherwise performative acts confirmed for this year’s festival include New Art Club’s Cupids Revenge and local visual artist Frances Disley who will be collaborating with music producer M T Hall as well as three Dance Artists from the North West. There will be additional performances from MDI’s Liverpoolbased companies Merseyside Youth Dance Company, and 50 Moves. More performances, workshops and events will be announced in the coming months, with tickets available to buy from August 2019. -3 – 12 October 2019
Yan Preston’s Forest opens at Birkenhead Priory A collection of work by award-winning photographer Yan Preston has gone on display at Birkenhead Priory. Forest features stunning images of trees in urban environments, presented on six large illuminated boxes. The exhibition can be seen within the grounds of Birkenhead Priory, Merseyside’s oldest standing building, until Sunday 22 September. Forest is part of LOOK Photo Biennial 2019, in collaboration with Open Eye Gallery. The exhibition is also the first of a summer series of art outdoors as part of Wirral’s year as Borough of Culture for Liverpool City Region. The light boxes have been kindly donated by Heart of Glass, an arts organisation based in St Helens which was 2018’s Borough of Culture. A winner of the 2019 Sony World Photography Awards, Yan Preston’s Forest looks at the modern practice of moving ancient trees into new places, or planting trees in climates that do not welcome them. In recent years, developers in China have been transplanting old trees into new leisure developments, in an attempt to create a feeling of readymade authenticity. The trees often die in the process of being moved, or adapt poorly to their new climate. Amid China’s rapid development and mass construction of megacities, the series captures the contemporary process of attempting to transplant the natural world into urban environments and trying to cover up the newness of new developments. Tracy Marshall, Director of Development and LOOK Photo Biennial lead for Open Eye Gallery, said: “LOOK Photo Biennial is delighted to bring Yan Preston’s series – Forest to Birkenhead Priory as part of our partnership with Wirral
Borough of Culture. This is our first exhibition of two in this year in the borough and we are excited to be working with the council to bring photography to the communities, residents and visitors of the area.”
takes a unique approach to the depiction of Britain and its distinct landscapes, industries, social and economic changes through the eyes of ten of the most established photographers working in Britain over the last six decades: Martin Parr, Chris Killip, Marketa Luskacova, John Myers, Forest paves the way for fantastic summer programme Tish Murtha, Daniel Meadows, Ken Grant, Niall McDiarmid, of art outdoors in Wirral as part of its Borough of Culture Robert Darch and Kirsty Mackay. programme. Details of more exciting pop-up and temporary exhibitions in surprising locations and settings appearing Entry to Birkenhead Priory is free. Birkenhead Priory across the borough this summer will be revealed in the is open Wednesday to Friday, 1-5pm and Saturday and coming weeks. Sunday, 10am-5pm. Throughout the summer there will be a number of opportunities to view Yan Preston’s photographs Cllr Christine Spriggs, Cabinet Member for Culture and illuminated at night. For updates on the dates and times for Tourism at Wirral Council commented, “We’re thrilled to evening viewings, please keep an eye on Open Eye Gallery welcome LOOK Photo Biennial to Wirral for the first time and Imagine Wirral social media channels and websites. during our Borough of Culture year. Yan Preston’s awardwinning and thought-provoking work is a striking addition Visit imaginewirral.com for the latest information. to one of our most celebrated historic sites. We hope the exhibition will attract new visitors who want to see extraordinary art in an unconventional setting and add a fresh perspective for those who are more familiar with Birkenhead Priory.” Later this year, LOOK Photo Biennial will also see Wirral play host to a group exhibition at the Williamson Art Gallery & Museum. Originally shown in China by Open Eye Gallery, Distinctly (Friday 27 September – Sunday 24 November)
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FACT’s summer exhibition and season of events explores precarious and unrecognised forms of work New exhibition REAL WORK opens at FACT on 12 July 2019, including artworks by Liz Magic Laser and Candice Breitz. Continuing FACT’s year-long exploration into issues of identity and representation, the exhibition highlights the often unheard voices of real people working in precarious situations across the globe. From UK and international freelancers competing for work in the online world, to a community of sex workers in South Africa, the jobs addressed in REAL WORK share a lack of mainstream recognition in society. The exhibition is comprised of a major new commission entitled In Real Life (2019) by Liz Magic Laser, exploring the most current and largely deregulated profession of online gig-working, and Sweat (2018) by Candice Breitz, which seeks to destigmatise sex work, a profession that remains criminalised in most parts of the world. Both artworks in REAL WORK adopt an experimental documentary format, highlighting the human dimension of invisible work by putting the uncensored, unfiltered stories of real life workers front and centre. Whether by creating a community among individuals struggling to cope in the isolation of a hyper-connected world, or by engaging with an existing community of local activists, both installations highlight how people in precarious situations come together to set their own agendas. REAL WORK will be accompanied by a season of events, the centrepiece of which will be The Liverpool Complaints Choir - Citizens Singing About Work. Created by Tellervo Kalleinen and Oliver Kochta-Kalleinen, anyone living in Liverpool is invited to share their personal complaints related to work, and join a process where these complaints are turned into an impressive choir song. Anyone is welcome to join, with an open call being launched during the exhibition. FACT’s 2019 summer events will also include
family activities, exhibition tours, summer camps, film screenings and hands-on creative technology workshops. Ana Botella, Head of Programme at FACT, said: “With our exhibitions and events, FACT aims to explore the challenges in our society and how technology affects our everyday life. REAL WORK and the accompanying events season look at the past, present and future world of work - asking urgent questions about invisible and unrecognised jobs. From Liverpool to Nigeria and Hong Kong to South Africa, there's a growing sense of urgency about workers’ rights across the globe and how we can learn from personal stories to build a secure future.” In Real Life (2019) by Liz Magic Laser highlights the experiences of five freelancers, who rely on work they find through online platforms and apps such as PeoplePerHour, Upwork and Fiverr. Developed as an experimental reality show, each episode follows one of the five gig-worker cast members. They are seen taking part in a professional development and tech-savvy self-care programme, designed by Liz Magic Laser in collaboration with a life coach and a spiritual advisor - both of whom also function in the online gig-economy. We witness their personal journeys of discovery and self-care, as they follow a training programme consisting of “biohacking” tools which use technology and cutting-edge research to improve their quality of life and work. Sweat (2018) by Candice Breitz sees the artist collaborate closely with ten members of a community of Cape Townbased sex workers, who each offer a series of anecdotes and insights into their lives and labour. All ten individuals are activists affiliated with SWEAT (the Sex Workers Education & Advocacy Taskforce). Their statements—each of which is ten- tweets-long in duration—are drawn from a series of longer interviews. Shown for the first time as
an immersive 10-channel video installation at FACT, the resulting cacophony of voices addresses the rampant gender-based and racist violence that sex workers face on a daily basis. Sweat (2018) addresses the lack of legal protections within the sex work industry, insisting on the necessity of extending human rights and labour rights to sex workers. The work features the voices of Zoe Black, Connie, Duduzile Dlamini, Emmah, Gabbi, Regina High, Jenny, Jowi, Tenderlove and Nosipho ‘Provocative’ Vidima.
Modigliani Opera, a 360 cinema & VR experience, has it’s UK premier in Liverpool A cutting-edge multi-media art show celebrating the work of one of the 20th century’s greatest painters will open for the first time in the UK in Liverpool on Friday June 14th. Modigliani Opera is an immersive multi-media show incorporating 360 degree cinema, 4k video screens and virtual reality to explore the work and life of the Italian master, Amedeo Modigliani. The Modigliani Opera exhibition which will run from June 28 until the end of September will be hosted in a specially adapted gallery space at 26 Bold in the heart of Liverpool City Centre. The internationally acclaimed show has recently toured major cities in Italy, and it is the centerpiece of a programme of art events and exhibitions being promoted by the Fondazione Amedeo Modigliani in the city this summer. The Fondazione aims to promote the work and celebrate the important influence of Modigliani, as well as support and promote the work of emerging contemporary painters internationally.
which ended tragically at the age of 35 when he died from tubercular meningitis. However, his reputation as a great artistic innovator soared after his death. He became the epitome of the tragic artist, creating a posthumous legend almost as well-known as that of Vincent Van Gogh. The Liverpool programme will also include two contemporary art shows featuring painters from the UK and Europe at both the Bold Street gallery space and a major waterfront exhibition space opening in July. Fondazione Modigliani Director, Sergio Bernardi said:
Amedeo Modigliani was born into a Sephardic Jewish family in the northern Italian port city of Livorno in July 1884. His life was blighted by a succession of serious illnesses including pleurisy, typhoid fever and tuberculosis. He travelled extensively during his childhood and youth, with his art-loving mother taking him to visit the great cultural centres of Rome, Venice and Florence where his passion for painting was inspired and nurtured. Moving to Paris in his early 20’s, he became part of the burgeoning Modernist movement forming close friendships with leading painters and writers including Pablo Picasso, Max Jacob and Jean Cocteau. Modigliani developed a highly distinctive visual style with his portraits and nudes immediately recognizable with their elongated necks and angular features. The painter achieved some critical recognition during his life,
“We are delighted to be bringing this highly original and exciting show to Liverpool, a city with such a strong cultural reputation and association with the visual arts. This is the first time that cutting-edge immersive technology has been used to present the work of such an important artist in a way that gives an entirely new perspective on his work and his life. The aim of the Modigliani Opera show is to go deeper, using immersive technology to get inside Modigliani’s imagination and find the source of his creative and emotional inspiration. His paintings are both immediately recognizable and deeply enigmatic. We know the work, but this is a chance to know and understand the man.”
The show’s promoters believe the exhibition will appeal beyond traditional art audiences with its immersive and interactive media helping to break down barriers and give people a richer and more accessible insight into the work of the modern master. Sergio Bernardi added: “Our aim is to combine education and entertainment, by providing an experience that is hugely informative and is also totally unique and memorable. We believe the show will have broad appeal to the whole public not just artlovers. We are particularly keen to work with schools, and we see this as a great opportunity to engage young people in art and cutting-edge immersive technology. The critical and public response to the show in Europe has been fantastic, so we are really confident that people in Liverpool will appreciate something that is so different and original.”
Liverpool’s Unity Theatre launches £5 ticket scheme for creatives Anyone working in the creative industries can access Creative Membership for free
Unity has announced a brand new ticket scheme, offering £5 tickets to all artists and creatives of all ages – whether they are professional, training or aspiring. The Creative Membership scheme is vital to the venue’s aim of talent development in Liverpool’s creative community and is free to access for any creative or arts worker – from choreographers to musicians and from digital artists to writers. The scheme is a new way for Unity to continue providing creatives with opportunities to develop their interests, skills, confidence and careers to support and invigorate the artistic landscape long-term. Gordon Millar, Unity Theatre CEO and Artistic Director, comments: “Unity is renowned for accessible pricing for all, with tickets being 60% cheaper than the North West average. The Creative
Membership scheme takes this one step further as we seek to embrace and nourish our local creative community. Many in the arts cannot afford to attend the very works that can inform and inspire their practice. By providing tickets for a mere fiver we’re ensuring that performances are accessible to people that make it and those that will shape its future”. All Unity shows and the majority of visiting productions will be included in the scheme, with a number of discounted tickets ringfenced for each show for members of the scheme. Just launched, the scheme already has over 200 members from a range of professions from theatre producers to graphic designers and is growing fast. New members can sign up by emailing tickets@ unitytheatreliverpool.co.uk or calling the box office on 0151 709 4988. Applicants simply answer a short set of questions to join.
Find the latest news & more on these articles at www.artinliverpool.com
Chester Visual Arts brings major V&A exhibition to the city for first showing outside London
Chester Visual Arts (CVA) brings the major V&A exhibition Chance and Control: Art in the Age of Computers to Chester this summer. Featuring key artworks from the pioneers of digital art over the last 50 years, this groundbreaking exhibition is being held in the city – its first touring venue following the V&A – and is another significant milestone towards the organisation’s objective to establish a permanent contemporary art gallery in Chester. With over 40,000 local, national and international visitors having attended CVA exhibitions since 2017, this third exhibition of a successful long-term partnership with the V&A, which has been funded by the Tyrer Charitable Trust, demonstrates the continued appetite for world-class visual art in the city. Since the 1960s, artists and programmers have used computers to create prints, drawings, paintings, photographs and digital artworks. Chance and Control draws on the V&A’s rich international collection of computer-generated art and includes work by pioneering digital artists such as Frieder Nake and Georg Nees – who produced some of the earliest computer art – through to the younger generation of artists practicing today. It offers viewers the rare opportunity to trace the chronological development of digital art, exploring how aspects of chance and control shaped the creative process and produced vivid and original artworks. CVA will continue to develop its educational activities, which has seen new relationships forged with secondary schools and universities across the region over the last several months. A dedicated programme of events, tours, workshops, and a Travelling Presentation will be available to secondary
Giant new multicoloured sculpture unveiled on the famous Liverpool waterfront
schools and colleges throughout the exhibition. Ian Short, Chairman of Chester Visual Arts said: “We’re delighted to strengthen our relationship with the V&A by bringing this groundbreaking exhibition to Chester. Our lives are increasingly defined by our relationship with digital technologies; Chance and Control traces how artists were – and continue to be – at the vanguard of new possibilities. It is a very timely exhibition. The excellent visitor response to the Woman’s Hour Craft Prize demonstrates the continuing appetite for high-quality visual art in the city and the desire for a permanent gallery. Alongside this, we are pleased to continue our educational offer for schools and young people in the region.” Dr Helen Charman, Director of Learning and National Programmes at the V&A: “Chance and Control explores the impact of the computer on the relationship between art and technology, within an important tradition at the V&A of collecting digital art and design. We are delighted to be collaborating with Chester Visual Arts for the third time in 2 years, so that this fascinating and timely display can be enjoyed by an even wider audience this summer.” -Chance and Control: Art in the Age of Computers The Old Library, Chester Friday 7 June – Sunday 8 September 2019
Abstract showpiece will be in situ for the next 12 months on The Liverpool Plinth A striking new sculpture that explores themes of mental health and depression, has been unveiled on The Liverpool Plinth at Liverpool Parish Church (St Nick’s). Created by North Yorkshire-based and Egyptian-born sculptor, Sam Shendi, whose works have been displayed around the world, Split Decision is a 4.5 metre, multicoloured, minimalist structure, and for the next year will sit on the famous plinth at the side of the church overlooking Chapel Street and the city’s UNESCO World Heritage waterfront. Brought to the city by Liverpool BID Company, in partnership with the church, and city gallery and art organisation, dotart, Split Decision uses colours to express a multitude of emotions and fears that a depressed individual experiences when having to make a decision. Represented by the outstretched legs, the artist also hopes to convey the positive opportunities that sit on the horizon for those who are struggling to overcome their mental anguish. With over two-decades in the limelight, Sam Shendi has won numerous awards for his work, as well as becoming a member of the Royal British Society of Sculptors in 2014, and is renowned for his eye-catching, coloured abstractions of the human figure and mind. Sam Shendi said:
“As with all my work, my hope is that Split Decision will have an impact on the people of Liverpool, both visually and emotionally, and stir a conversation about the issues of mental health and depression. Importantly, I want Split Decision to give hope to those going through dark times in their lives, so they know that there is always a light at the end of the tunnel. “It is not every day that you get the opportunity to showcase your work in a location as iconic as Liverpool’s world famous waterfront – and for that I must thank Liverpool BID Company, Liverpool Parish Church and dot-art. I have always admired the city and the fighting spirit of its people, and I look forward to seeing how they respond to Split Decision.” Split Decision was selected by a committee including the BID, St Nick’s, the Bluecoat, Liverpool Cathedral and dot-art, following a call-out to artists working in the north of England to submit their works for consideration. The new sculpture replaces last year’s popular winner, Gold Lamé – a suspended, bright gold car – by Tony Heaton, which was originally commissioned as part of Art of the Lived Experiment for DaDaFest 2014 at the Bluecoat.
WHAT’S ON > CURRENT EXHIBITIONS Keith Haring Tate Liverpool
Starkers Williamson Art Gallery & Museum
Liz Hingley – Shanghai Sacred Victoria Gallery & Museum
Rembrandt in Print Lady Lever Art Gallery
Current Exhibitions Vortex – University Centre St Helens, degree show Beechams Building until 20 July The annual event, highly regarded in the local arts calendar, sees the historic Beechams building transformed into one of St Helens’ largest art galleries. -Modigliani Opera Bold Street (LIV Organic), until September An immersive virtual reality installation, brining Amedeo Modigliani to Liverpool, giving an overview of the Italian master’s life and work.
Liverpool, 2028 dot-art, until 6 July Artwork by six Liverpool artists whose visionary art has responded to a citywide open call with music publication Bido Lito! -Northern Stone and Peat Smoke by Anthony Ratcliffe Kirkby Gallery, until 10 August Anthony works from drawings and material collected on site and has travelled extensively around Britain documenting remote landscape and particularly the way it shows evidence of past land usage, geology and archaeology.
--Eco Bluecoat Display Centre, until 27 July An exhibition of works by makers working in eco friendly materials or with a focus on sustainability. -Adam Ross Bluecoat Display Centre, until 31 July Using traditional ceramic forms as a means of sculptural exploration, Adam Ross creates both sculpture and tableware.
Rembrandt in Print Lady Lever Art Gallery, 15 September The Ashmolean Museum holds a world class collection of over 200 prints made by Rembrandt Harmensz van Rijn (1606-1669). 50 of them are on display at Lady Lever. --
Kinship Open Eye Gallery, until 7 July The exhibition presents projects from seven photographers, all women, addressing traditional ideas of how people might relate to others based on their gender, age, or position within a family. -Alice in Wonderland Rathbone Studios, until 31 August original ‘Alice in Wonderland’ pictures and prints created by June Lornie
Ideas Depot Tate Liverpool, until 21 July A dynamic display of artworks chosen for primary school children to be enjoyed by everyone. -Sol Calero: El Autobús Tate Liverpool, until 10 November Inspired by a recent journey through Latin America. Visitors are invited to travel through the floor-to-ceiling mural which overwhelms the space with a landscape of patterns and panoramic views.
--Serena Korda: The Bell Tree Speke Hall & Bluecoat, until 28 July Set in Speke Hall’s ancient woodlands and grounds, The Bell Tree draws on the hall’s hidden history.
Keith Haring Tate Liverpool, until– 10 November The first institutional, solo exhibition in the UK of American artist Keith Haring.
First Women Exhibition: Anita Corbin St George’s Hall, until 27 August A unique collection of 100 portraits capturing women in the UK who were “first” in their field of achievement
Southport: Double Take (Old Southport Through a Modern Lens) The Atkinson, until 1 December Local photographer Matt Dodd has blended historical photographs of Southport with images from the present.
Find FULL listings and events information at www.artinliverpool.com Sol Calero: El Autobús Tate Liverpool
Modigliani Opera Bold Street (LIV Organic)
Northern Stone and Peat Smoke by Anthony Ratcliffe Kirkby Gallery
Kinship Open Eye Gallery
Inspired by Alice The Atkinson, until 7 September Step into the immersive world of Alice, with art, collectables and craft all inspired by the legacy of Alice in Wonderland.
As Seen on Screen: Art and Cinema Walker Art Gallery, until 18 August Exploring the relationship between art and cinema, delving into the fascinating question of what inspires artists.
-Before Egypt Victoria Gallery & Museum, until 31 October Discover life in Egypt before the pyramids at this new exhibition, featuring internationally important collections of Predynastic Egyptian and Nubian artefacts. -Something Borrowed, Something New – Ian Irvine vs the VG&M Victoria Gallery & Museum, until 19 October Artist Ian Irvine applies a subversive, contemporary twist to the VG&M’s collection of historic paintings. --
Liz Hingley – Shanghai Sacred Victoria Gallery & Museum, until 25 September LOOK Photo Biennial: In the innovative installation, photographer and anthropologist Liz Hingley uncovers the spiritual landscape of China’s largest city. -Tabitha Jussa & John Davies – Can’t See The Wood for The Trees Victoria Gallery & Museum, until 4 July LOOK Photo Biennial: A visual exploration of trees in the urban environment through the prism of contemporary scientific understanding and the symbolic significance of trees. -Charles Rennie Mackintosh, Making the Glasgow style Walker Art Gallery, until 26 August Spanning the lifetime of Charles Rennie Mackintosh and his contemporaries, exploring the movement that became known as The Glasgow Style. --
-Cycling Through Time Williamson Art Gallery, 11 May-22 Sept A display of historic bicycles from the collection of National Museums Liverpool. -Starkers Williamson Art Gallery & Museum, 15 June – 14 July Four years on from its first appearance, Davy and Kristin Maguire’s Starkers returns to The Williamson. -Sixteen Williamson Art Gallery & Museum, until 21 July In this major touring exhibition leading contemporary photographers join forces with more than one hundred and seventy sixteen-year-olds across the UK to explore their dreams, hopes and fears.
Transformative Moments Williamson Art Gallery & Museum, until 14 July Photographer Stephanie Wynne and women from Wirral Change, a BME outreach centre, present ‘Transformative Moments’. -Vessels Williamson Art Gallery, until 22 Sept Models and rarely seen historic artefacts feature alongside much-loved and new artwork. -Astronomy Photographer of the Year World Museum, until September 100 images from the 2018 competition will be displayed to coincide with the 50th anniversary of the moon landing. .
WHAT’S ON > COMING SOON Grace Ndiritu: The Ark Bluecoat
Real Work FACT
Look Photo Biennial: Stephanie Wynne & Stephen McCoy – Triangulation Victoria Gallery & Museum
Liverpool Arab Arts Festival: Shadow and Light Northern Lights
Exhibitions Green Spaces with Lens and Pen St Lukes, Hoylake, 5-19 July Part of Wirral Festival of Firsts Images and words from lovers of Wirral’s beautiful open spaces. --
Grace Ndiritu: The Ark Bluecoat, 6 July – 13 October An exhibition based on the Grace Ndiritu’s research created before, during and after her ambitious post-internet living research/live art project that took place from 1 to 10 July 2017 in Paris.
The Map Project Fashion Hub, 5-7 July Part of Wirral Festival of Firsts Wirral based artists together with artists from Scotland, Croatia, Slovenia, Montenegro, Kosovo, Poland and Australia create a textile art project based on the place they called HOME.
Shezad Dawood: Leviathan Bluecoat, 6 July – 13 October Shezad Dawood’s epic film series Leviathan comes to Bluecoat this summer as part of a season examining society and migration.
Liverpool Arab Arts Festival: Shadow and Light Northern Lights, 6-14 July a collaborative project honouring the lives of more than 400 Iraqi academics killed in targeted assassinations between 2003 and 2012 on university campuses, in the street and even at their homes.
Real Work FACT, 12 July – 6 October Continuing FACT’s year-long exploration into issues of identity and representation, the exhibition highlights the often unheard voices of real people working in precarious situations across the globe.
Odyssey Explorations Tate Liverpool, 15-21 July Inspired by the story of the Greek hero Odysseus’s journey, visitors can share their ideas, memories of and feelings about home and identity which look at the movement of people. -Look Photo Biennial: Stephanie Wynne & Stephen McCoy – Triangulation Victoria Gallery & Museum, 18 July – 22 August This work is from the ongoing project to visit all 310 primary triangulation points that were built and measured between 1936 and 1962 by the Ordnance Survey for the ‘Retriangulation of Great Britain’. -Sixteen Tate Liverpool, 30 July – 18 August This multimedia project brings together leading contemporary photographers with more than 170 young people from diverse communities across the country.
Find FULL listings and events information at www.artinliverpool.com
Liverpool Arab Arts Festival: Chronicles of Majnun Layla Unity Theatre
Pride X Tate Liverpool Tate Liverpool
Liverpool Arab Arts Festival: Commapress Presents Palestine + 100 Bluecoat
Liverpool Arab Arts Festival: Gesturing Refugees Bluecoat
Talks, Tours & Performance Liverpool Arab Arts Festival: Chronicles of Majnun Layla Unity Theatre, 7 July, 7:30pm TheatreBahraini poet Qassim Haddad’s powerful rendering of the classic love story of Majnun Layla – often described as the Arab Romeo and Juliet – is transformed into a live experience by renowned Palestinian actor and writer, Amer Hlehel. (booking required)
Teatro Pomodoro present A Fish out of Water Westbourne Hall, 12 July, 7:30pm Following the success of Cabaret from the Shadows, the hugely talented Teatro Pomodoro make a welcome return to the Festival of Firsts with the world premiere of their new show “Fish Out Of Water: a Shipwrecked Odyssey” (booking required)
Liverpool Arab Arts Festival: LAAF Family Day Sefton Park Palm House, 14 July, 12:30-5pm Arab Arts Festival’s (LAAF) ever-popular Family Day returns bigger and better than ever for 2019, offering a packed day showcasing some of the hottest talent in Arab music along with cultural cuisine, traditional crafts, market stalls and engaging activities.
-Liverpool Arab Arts Festival: Commapress Presents Palestine + 100 Bluecoat, 9 July, 6:30pm This event asks contemporary Palestinian writers: what might your home city look like in the year 2048 – 100 years after Nakba, the displacement of more than 700,000 people? (booking required)
Liverpool Arab Arts Festival: Heroine with a Thousand Dresses Bluecoat, 13 July, 7:30pm This one-woman show, written and performed by Dana Dajani,is a journey through the diverse and eclectic wardrobe of Dana’s grandmother, a Jerusalem boutique owner, whose love of fashion was her mode of self-expression.
Liverpool Arab Arts Festival: Gesturing Refugees Bluecoat, 16 July, 2pm This interactive performance is intended to archive hidden stories of refugeehood using the bodies of refugee artists and audience members, while playing with other archive material, testimonies and imagination. (booking required) --
Liverpool Arab Arts Festival: evolvo and One Day and One Night in Beirut Unity Theatre, 11 July, 7:30pm evolvo is a complex, magical delight from visual artist and performer, Yara Boustany. (booking required) --
In Conversation: Shiromi Pinto Tate Liverpool,18 July, 6:30pm Shiromi Pinto’s book Plastic Emotions is inspired by the life of Minnette de Silva – a forgotten feminist icon and one of the most important figures of twentieth century architecture. (booking required)
Pride X Tate Liverpool Tate Liverpool, 26 July, 6:30pm Kicking off our city’s Pride weekend, Tate host Pride X Tate Liverpool with talks, workshops, music and food. Join them to celebrate the Keith Haring exhibition and Pride in Liverpool. -Audio Description Tour: Keith Haring Tate Liverpool, 27 July, 11am Blind and partially sighted visitors are invited to join an audio-described tour of Keith Haring (booking required) .
JOBS & OPPORTUNITIES
For more details on all opportunities, including links on how to apply, head to www.artinliverpool.com/opportunities-2/ To send us details on jobs or opportunities for artists, email email@example.com
CALLS Convenience Gallery Market Residency We are inviting creatives to respond to the market place. With the opportunity to work in our gallery and exhibit during the working hours of the Market (This is 9am till 5pm Monday – Saturday). DEADLINE: 15th July -Northern Artist Film Commission – Open Call for Proposals, Quays Culture and University of Salford Art Collection We are looking for artists and filmmakers based in the North of England who are pushing the boundaries in artist film, producing new, inspirational and challenging work, to be part of a contemporary festival that captures the imagination of the public, many of whom would be new to artist film. DEADLINE: 15th July -Artist Facilitator (One-week position), Lake-land Arts Lakeland Arts are seeking proposals from emerging to mid-career art-ists / artist facilitators for this year’s Art Camp: CLIMAart, to design and deliver an exciting programme of participatory workshops for 11-15 year olds which respond to the theme of climate change and the youth protests started in Scandinavia. DEADLINE: 8th July 2019 -VIA Arts Prize 2019 Call For Entries The VIA Arts Prize, the UK’s only IberoAmerican themed arts award, has launched its 2019 Call for Entries, and is celebrating the fifth edition of the respected Prize. DEADLINE: 30th September -Call for Submissions: Another North Another North is a new online platform for Northern writing. We are looking for poetry, fiction and essays from people or living in the North of England, North of Wales and Scotland.
DEADLINE: 20th September -Time and Space Residencies, 2019 – Metal Metal’s Time and Space Residencies are open opportunities for artists working in all disciplines to access Metal’s spaces, the support of its staff and its local, na-tional and international networks. DEADLINE: 30th September -Open Eye Gallery, Open Source Open Source is a rolling submission-based open call, giving developing and ear-lycareer artists the opportunity to showcase their work digitally on the gallery’s exterior screen. A new photographer will show for the duration of a month, eve-ry month. We’re looking for photographic projects that connect to our exhibi-tions, offering new ways of looking at the issues we confront in the gallery. DEADLINE: Rolling -A B&B Associate Artist Scheme The scheme provides important support for artists living or working in the locale of Blackpool, Fylde & Wyre to develop ideas through in depth research. The scheme offers small bursaries to enable artists to con-nect their ideas with new peers further afield and learn how to turn them into a reality at A B&B. DEADLINE: Rolling -The Atkinson, The Landing Space: Exhibition opportunities The Landing gallery is a wonderful selling space within The Atkinson. Well-lit and offering a variety of display opportunities it can be found at the top of a magnificent Victorian staircase, which brings visitors up to the performance spaces of the theatre and studio as well as the dis-play spaces of the gallery. DEADLINE: Rolling .
JOBS Board Members, Art B&B CIC We are Art B&B CIC – a community interest company (social enterprise) that has been established to renovate a traditional Blackpool seafront hotel through commissioning artists. DEADLINE: 5th July
Festival of Hope Co-ordinators, Curious Minds Curious Minds is seeking 5 Festival of Hope Co-ordinators to lead young people to produce a Festival of Hope, as part of its Hope Streets programme. DEADLINE: 23rd July
Creative Learning Practitioner, Storyhouse We are looking to recruit two Creative Learning Practitioners on a 12month fixed term contract. They will be responsible for creating, leading and managing workshops in our local schools. DEADLINE: 7th July
Technical Manager, Link4Life The purpose of the job is to provide a professional, efficient and high quality service to customers of Link4Life. This includes being the technical lead on technical management and operation and production support at Link4Life venues and associated events. DEADLINE: 12th July
Dance Development Artist for Cheshire West and Chester Borough, Cheshire Dance Cheshire Dance is looking for a highly motivated dynamic individual who is passionate about dance and its value in society. DEADLINE: 8th July --
Development Officer, Liverpool Biennial Liverpool Biennial is currently seeking to appoint an additional Development Officer to work with the Director of Development and their team, to identify, cultivate and develop corporate, individual, public and private sector partners for the Biennial. DEADLINE: 15th July --
-Halle Venues Operations Manager, Halle Concerts Society We are seeking an experienced and organised person to work in the Venues Department of the Hallé Concerts Society, one of the country’s most distinguished and exciting orchestras. DEADLINE: 5th July
New Queers On The Block Ambassador, Marlborough Theatre The Marlborough Pub and Theatre are looking for a local ambassador to create a series of audience engagement activities and to reach out to specific community groups in Blackpool and Lancashire, leading up to performances of New Queers on the Block at Art B and B. DEADLINE: 28th July
Creative Producer – Children & Young People, Community Arts North West The role of Creative Producer – Children & Young People is a new position at Community Arts North West (CAN), and a key post reflecting the significant focus that we put on our growing portfolio of work with children and young people. DEADLINE: 10th July --
-In Harmony Liverpool Musician, Royal Liverpool Philharmonic A position has become available at Liverpool Philharmonic for an In Harmony Liverpool Musician. This is a part-time, permanent post (hours and timetable to be discussed at interview). DEADLINE: 15th July --
Managing Director, SeeSaw SEESAW is a new creative workplace for Manchester, founded in partnership with three of Manchester’s leading creatives, David McCall, Philip Hannaway and Atul Bansal. DEADLINE: 9th July
Development and Marketing Manager, Centre for Chinese Contemporary Art The Development and Marketing Manager is a new management role which will work closely with the CFCCA Director on innovating and leading successful fundraising and commercial income initiatives. DEADLINE: 15th July
Engagement Manager, The Lowry The Lowry is an internationally acclaimed cultural landmark situated at the heart of MediaCityUK, one of the world’s most exciting culture and media destinations. DEADLINE: 5th July
Production Technician Apprentice, Royal Liverpool Philharmonic This apprenticeship position with Liverpool Philharmonic offers a unique opportunity to work with one of the UK’s premier music organisations. DEADLINE: 15th July
LIZ MAGIC LASER
12 JUL - 6 OCT 2019
88 WOOD STREET fact.co.uk Top image: Still of Zahid Iqbal/thelanceersinc, graphic designer on Fiverr, Pakistan. From In Real Life, 2019 by Liz Magic Laser. Courtesy of the artist. Bottom image: Candice Breitz, Sweat, 2018. Featured here: Nosipho ‘Provocative’ Vidima. Courtesy of Goodman Gallery (Johannesburg), Kaufmann Repetto (Milan) & KOW (Berlin).
News, Reviews & What’s On. Your monthly update on visual art in the Liverpool City Region