Art in Liverpool Magazine, issue #15, May 2019

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Issue #15 - May 2019 News, Reviews & What’s On. Your monthly update on visual art in the Liverpool City Region

cover image: Richie Moment, Cheriton Light Festival 2018 (photo by Kevan Smith at smith studios)


Art in Liverpool magazine is a monthly newspaper promoting visual art across the Liverpool City Region.

Art in Liverpool, issue #15, May 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: 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:

issue #15, May 2019 Editor: Patrick Kirk-Smith Contributors: Samantha Browne, Carol Emmas, Lorraine Bacchus, Julia Johnson (Messy Lines). Advertising, sponsorship, distribution, stocking & event enquiries should be sent to Art in Liverpool C.I.C. Company No. 10871320

As Extinction Rebellion causes chaos throughout London, something really significant is happening in tandem. Culture Declares is a new initiative led by the UK’s cultural bodies, asking others to join, and declare a climate emergency. We are using this editorial to clarify and declare Art in Liverpool’s voice within this moment of creative power, but also, our joy in seeing others do the same. Culture can be such a powerful thing when it’s put to the test. Art bridges gaps between communities, and strives to lead the way on inclusion and representation, it gives power to public opinion, and listens for answers from other industries. In this case science has provided the world with unavoidable truths, and art has listened. Art in Liverpool will be part of the voice that passes that message on. It’s probably important to give context to this declaration too, and that of the other institutions declaring. From Art in Liverpool’s perspective at least, we do not demand that those who don’t have the means to take action, take action, we want this declaration to be taken as a pledge to engage with our peers, and to plan how cultural spaces and events can help create change. And from my perspective having written this, nobody’s perfect. Even the protestors hitting the headlines are wearing huge coats made of plastic fibre, and likely travelled to the protests on diesel trains. It is up to individuals to make changes where they can, but up to government to make it possible to do so.

Our Declaration: We, Art in Liverpool, declare a Climate and Ecological Emergency We pledge to work with and support our community and local government in tackling this Emergency, and we call on others to do the same. These are our intentions, and the intentions shared by all cultural groups making this declaration as part of Culture Declares. They match those outlined by the mass protests in London: 1. We will tell the Truth; 2. We will take Action; 3. We are committed to justice. Art in Liverpool, and our directors have never been, and likely will never be, described as radical, or disruptive. Our aim is to connect people who want and deserve to be connected to culture, to culture. It always has been. We have always been aware of the effects of climate change, and have longed for a movement like this, which encourages cultural groups to take a strong and unified position on preserving our planet. In recent years it has been more and more apparent that climate change is no longer just an issue worth considering, but an emergency we need to tackle immediately. The first part of the declaration, from a text shared with many, many, organisations around the country, is that we will tell the truth. In doing so, galleries, theatres, producers and artists take responsibility for communicating with citizens, and supporting them to discover the truth about the Emergency and the changes that are needed.

Art in Liverpool will remain committed to sharing the actions of all of our peers, and our own, and celebrating the positive changes that result from that. The hope of Culture Declares is that this is targeted at Governments, their broadcasters and cultural agencies. Art in Liverpool will strive to support that. The second part of this declaration, a promise to take action, ensures that Art in Liverpool, and all institutions sharing the declaration will reduce emissions to net zero by 2025. Now, for Art in Liverpool, this has many implications. Our office is already supplied with energy from renewable sources, but the pledge extends to our employees, and our distribution, who at present travel by road. We will take action to work towards systems for our employees and distribution that meet our target of net zero. At present, this is our main challenge, but we also produce a biennial festival, Independents Biennial, which relies on meanwhile spaces, support from local governments, and extensive transportation of artists and their work. We will actively work to ensure that this work meets our pledge by 2025. We are committed to Justice, the third pledge being taken by the UKs cultural institutions is one of collaboration, communication and co-working. This year is the Liverpool City Region’s Year of the environment, it is intended to kick-start efforts in the right direction. Our part in this connects to telling the truth, and ensuring that information about action on climate change within the cultural sector is passed on to the public. End of Declaration

images: Rae-Yen Song’s Happy Happy Leaf (top), Emma Cousin’s Arpeggios (bottom left), Anna Raczynski’s The Movie Makers (bottom right)

Review: Survey, Bluecoat

12 years of Jerwood Visual Arts Charting twelve years of Jerwood Visual Arts, Survey is a document of the changing creative industries.

relation to something else, and tends to get shows in major galleries only if it actually has something to say.

In a recent documentary on Sean Scully for the BBC the artist complained, quite passionately, about conceptual art, and its ruinous effect on the arts. If you watched that film, I can’t emphasise enough how wrong he was. Concept, and the ability to think and instruct thought passionately and constructively is unique to contemporary art, more so now than ever. The abstract repetitive work of the mid-20th century is if anything a large part of the reason for negative perceptions of fine art.

In part this is down to how art is funded, and how it is commissioned, more focussed on social good and cultural impact. It empowers a cause that always existed and ensures artists are capable of telling stories. The power of this is twofold; it empowers the arts as a social need, and it empowers and strengthens the crafts by clarifying boundaries.

In creating a culture where artists had to strive to be remembered, changing visual language above all else, the reasoning got lost somewhere. Survey is a wonderful example of that reason; that purpose and strength behind the messaging in current day fine art. Entering the exhibition space, while it was half constructed, artists were installing their work, in some cases creating it in situ. The buzz of creation is clearly more dedicated now than it has been for many, many, years. It defines the industry as it breaks away from movements and schools of thought and into independent voices taking up a pedestal. Remember, if you went to art school, how important that pedestal is to the development of an artist. Everything is in

At its heart, Survey is about perspective and experience. The artists involved tell highly personal stories within the context of modern life. None more so than Emma Cousins, who I briefly met during the exhibition installation. Her work focusses on dominant female stereotypes, with a gestural rhythm that links human actions with individual deeds. Arpeggios, the mural which has been hugely up scaled for Bluecoat follows a narrative string which is told through hundreds of bodily gestures. One of the closing parts of the exhibition, it is a summary of the show as a whole. A work of curation, pulling together tales of modern life, through the eyes of those best placed to tell them.

Happy Happy Leaf is accompanied, subtly, by a charming illustration in the guide, illustrating the ceremony that would surround the sculpture. Loosely based on a tea ceremony, and rituals within the artist’s own Chinese-Scot heritage, it creates an idol that is both viscerally human, and deity at once, with a surreal grandeur that sticks with you. Jerwood has always had that ability to curate and create art that sticks. Taking that into account, along with the deeply held drive to discover new artists, who can most accurately capture the contemporary art world, Jerwood and Bluecoat are a powerful fit in this exhibition. Reflective, surreal, representative and challenging. This exhibition is a moment in time captured from the art world, on display for all, and an unmissable show for anybody hoping to better understand the creative momentum of today. -Survey, at Bluecoat until 23 June Words, Patrick Kirk-Smith

And of course there’s the centre piece, Happy Happy Leaf by Rae-Yen Song; a blue pseudo-deity that floats warily above the gallery floor dripping as it quietly spins and observes its viewers.

Featured Artist: Richie Moment

interview ahead of his 2019 LightNight commission at St George’s Hall Ahead of this year’s LightNight, we’re trying to get to grips with Richie Moment, a self-professed art world icon, who should be taking Frieze by storm and mounting the next charge on the future of the art world, if past articles are to be believed. There’s something hiding behind those claims though; a discomfort at how the art world functions, and the language within it. Perhaps we need more artists shouting down the problems, perhaps we don’t. Either way, ahead of what will undoubtedly be LightNight’s most memorable work of 2019, we put it to him, and these were his answers: In 2017 you were in the process of creating the most powerful video in the world. How did that go? Smashed it! But who wouldn’t be trying to make the most powerful video. Do you get out of bed and think ‘Right, today I’m going to make the 5th most powerful video I can’? St George’s Hall’s a pretty big platform. You’re against the word position, but it’s pretty up there for Liverpool. How does that fit with the momentum of self-promotion and surreal self-portraits in your films? The films are about taking care of problems; they are as much self-help for day-to-day anxieties as they are about highlighting larger global issues. With these problems being taken care of it means my hands are free to make the sculptural work. The best and most important thing about installing them at St Georges Hall, is the massively broad audience that get to engage with the work. As open culture so rightly put it ‘Art for everybody’.

image credit: Richie Moment, Cheriton Light Festival 2018 (photo by Kevan Smith at smith studios)

There’s a not-so-tepid anxiety in your work - It’s mentioned in other posts around the internet too – which creates a sense of ire. You know, slightly irritated by the world you’re in, and wondering how to stand out. Where did that come from? The anxiety about the art world? It’s anxiety from external pressures. There is an unescapable pressure to have an online presence and to fit in, whilst still being interesting. I just got to the point where I thought, if you are going to force me to have an internet presence, I’m going to make you wish you didn’t. If you make anything from scratch it’s a very personal thing, so why shouldn’t your online presence be representative of that. By working this way it helps you realise, that even with all of these external pressures, ultimately the biggest pressure comes from yourself. But luckily that’s the one you can stop the easiest once you realise it’s there, leaving you free to smash it. The work coming to Liverpool in May is a re-run of something you installed at the Cheriton Light Festival last year – is it changing, or reaching for the new platform at all – or is it another confident, defiant presentation of your work as it was? It is a new platform. It’s very important to me that the work is always culturally site-specific and not just in relation to the architecture of the building. The new work will sit on top of the stone plinths that already exist outside St Georges Hall and will be my biggest (and best) to date. All of the imagery in the sculptures are hand cut into the wood with an industrial router, like you would use when fitting you kitchen work top. The only laser that is used in the process, is the one to get rid of my crow’s feet at the Swiss clinic.

It’s so different from your usual film work, from what I can make out, and seemingly a step into less self-referential production. Where did the focus on modern life and pop culture come from? It’s a step away from your usual selfreferential video work, and seems to be quite powerfully damning of modern life?

in the same space. Modern life is great, but that doesn’t mean that we shouldn’t stop every now and again to take stock. What better place to take stock and show some of the best work in the world, then at a big night out in one the best cities in the world. --

Pop culture is the language that everybody already speaks. That language can be used to ask important, bigger questions. It’s not just about bringing high culture down, or what is seen as low culture up. It’s about letting them exist

Richie Moment’s installation will be outside St George’s Hall this LightNight. interview, Patrick Kirk-Smith

Mark Cass, founder of Cass Art talks to Carol Emmas, on bridging the divide between peop and a move to vegan products. We use recyclable packaging for our e-commerce footprint, and of course our award winning bags for life – the Cass Art Tote bag have been on the arm of Cass Art customers since 2008. This year we launched a Cupcycling Cartridge Pad online and in store – a multi award winning pad made entirely from recycled coffee cups! Lots more to do in this area so watch this space. Art shops seem to be one of the current survivors of the high street? Is there an explanation?

Mark Cass started a quiet revolution in 1984 when he opened up Cass Art, an art supply shop with a passion for production and a history of collection. Since the first store opened in Charing Cross, the brand has grown on the mantle of creating artists. In 2015, Cass Art opened in Liverpool, and as they do when they move in anywhere, “Let’s fill this town with artists” was branded around everywhere. Since then, the shop has got busier and busier, with more and more artists using the space as their go to supplier. How though, in 2019, do physical art supply shops still make sure they are at the forefront of creating new talent? Carol Emmas asks Mark Cass, founder a CEO of the national group, just that, CE: Now we are living in a computerised world, are you seeing more people turn to their computers to produce art, or is the internet instead enticing people into wanting to create something real? Mark Cass: Embracing technology is not a new notion within the art world, artists are, and have always been the innovators – from inventor & artist Leonardo Da Vinci, to the first photographers and the artists and designers of the 1950’s using analogue computers to create the first digital images. There is of course a growing community of artist’s using digital media to produce their work, with advancements in VR, AI and digital programming, but I think that realness is still important to most artists. And as I’ve said before, it’s time for us to use our hands for something other than just picking up our phones. Creativity – and importantly real world creativity allows us to escape the screen and the day-to-day

constraints of modern societal living. The physical feeling of a brush against canvas or clay between fingers cannot (yet) be replicated. What artistic trends are you seeing coming to the fore? What are people enquiring about and buying? MC: We’re seeing that more people are enquiring about professional quality products despite them perhaps not being a professional artist themselves. Fundamental to our beliefs as a business is giving all access to the best materials from the world’s top suppliers at the most affordable prices - from Winsor and Newton, to Daler – Rowney, Michael Harding, Sennelier and our Own Brand professional products. Our customers take great care in what they buy – whether they are a professional, student or hobbyist it is important that the

materials enhance their work. Our mission to fill every town with artists is underpinned by our long standing manifesto. The Cass Art Collection is a direct manifestation of this ethos. Launched in 2013 in collaboration with award-winning designer Angus Hyland, a Partner at Pentagram We’ve recently expanded the Collection for professionals with our Artists’ Oil Colour, Artists’ Watercolour, Exhibition Grade canvas and Cass Art Acrylic When a customer purchases a new product they’re making an investment in their craft – an investment in time and also money. We want to support them in this investment by providing materials that will not only last, but help them to elevate their creativity. Sustainability and environmental awareness is increasing across all industries, and that includes the arts. Customers are increasingly aware of what they purchase and how they purchase them

MC: We’ve had a successful online presence since 2013, a brilliant platform where we can stock a much wider range of materials, size and colour. But physical high street stores are still the lifeblood of Cass Art. Today we have 13 stores across the UK in university towns they offer a different service. All of our staff are artists; you can walk into any Cass Art store in any city and know that you will be talking with an expert. With the ability to converse face to face about materials, try them for yourself in store on our try me tables, and feel the materials in your hands. Where else can you try out these materials? Wherever there are people there is creativity and wherever there is creativity there is art. And where there is art, there is the need for the art shop. What’s your best-selling product? MC: Working directly with the world’s top suppliers and manufacturers enables us to provide the best quality materials at the best prices; importantly it also means that we can bring our customers exclusive and unique products. For this reason our best sellers are often these exclusive products. From the small: Staedtler Pigment Liner Set of 6 to the colourful: Winsor & Newton Cotman Set of 36 Half Pan plus most of Wooden Oil Set with Michael Harding Colours, Brushes & Box. Our price match guarantee means that we promise to offer the best quality materials at the best possible prices. So our customers can rest safe in the knowledge that they will never over-pay for their essential materials. These days, there seems to be artist collectives everywhere. Also, through social media it seems as though everyone is an artist now. Is this an illusion or a contemporary reality? MC: Everyone is an artist! That is the beautiful thing. In the words of Pablo Picasso and one of my favourite quotes “Every child is an artist. The problem is how to remain an artist once we grow up.” At Cass Art our role is to be a reminder of this fact, when we “fill a town with artists” we are reigniting the creative potential in every person – whether they are 3 or 103, professional or amateur.

ple, places and art. It is true that social media puts individuals on a platform the like we have never seen before. They have the ability to show their creativity to the world with no limitation, those individuals who may once have been isolated in their creative endeavors now have a full community of support. We encourage our customers and community to share their creativity with us on Instagram by hash-tagging #cassart – a call to arms that has been answered over 33 thousand times! What do you find most inspirational about art and artists in the UK today? MC: You may be surprised but one of my yearly great inspirations is the Fourth Plinth Schools Award. In 1998 the Royal Society of Arts conceived the Forth Plinth Project, repurposing the empty plinth in London’s Trafalgar Square to house a series of contemporary artworks. The Cass Sculpture Foundation, founded by my father Wilfred Cass, commissioned the first three pieces to adorn the plinth, pathing the way for a succession of sculptures, performances and happenings. The success of the commissions led to a plethora of community arts programmes relating to the plinth, and the Fourth Plinth Schools Award from the London Mayors office support by Cass Art is one of such initiatives. The imagination and potential in these child artists brings me such joy each year! Akin to this is the work produced by the fantastic art schools up and down the country. Students are the future of art, and in turn the future of Cass Art. I have yet to visit a Degree Show where I find myself leaving with a feeling other than excitement in what’s to come in the creative industry. We acknowledge this importance by supporting students up and down the country, firstly with our Cobalt Blue Student Card which gives a 10% discount, to our Student Days and degree show prizes, bursaries and studio awards. How is Liverpool shaping up for you? MC: If London is the UK’s creative heart the regions are its arteries and veins, therefore continuing to extend our regional footprint is vital. I was thrilled to open a Liverpool store in 2015 and for Cass Art to contribute to the cities rich cultural history; from the fantastic artist-led spaces and galleries to the leading Art Festival, the Liverpool Biennial. Liverpool was selected as the capital of culture in 2008 and 11 years later that legacy is very much alive. You can see Cass Art materials in action all around the city, our customers in Liverpool range from renowned mural artist Paul Curtis, to students, retirees and professional artists. The diverse customers that visit our store reflect the diverse residents of Liverpool – as creative and exciting today as those before them.

Review: The Williamson Open, 2019 The Williamson Open has been happening in more or less the same format for over 90 years, but this was my first time so I was unprepared for its scale. Three of the Gallery’s largest and most elegant rooms are given over to the 371 selected works. On entering the first space, the diversity is what is most striking – of style, subject matter, media and, perhaps least important of all, of accomplishment. This show is the epitome of a democratic happening in that it gives beginners the same opportunity as the professionals, not only the chance to be exhibited but also to form part of the Gallery’s permanent collection. The three prizewinners’ works are purchased by the Gallery, which means they will be keeping company in the Williamson’s archives with the best of British artists from the past 250 years. Before looking at the catalogue for the winners, it’s fun to walk through the show to choose one’s own top three. Mine were all different to those selected, which is as it should be, art taste being entirely subjective. That said, in order to reach a verdict presumably those involved in the selecting must have to put aside their personal preferences to focus on criteria such as originality, composition, initial impact, and how the work compares to other entries. Visitors can vote for their favourite; the winner receives an Award named in memory of Mrs Kay Greenwood-Casey, arts critic for Wirral News, whose pen-name was Kriterion. Such is the competitiveness around the Kriterion Award that there is a warning in the Exhibition Catalogue against vote-rigging. My number one was a small still life in oil, Lemon and Glass, by Hugh Askew, which has a lovely translucence to its palette. Next was a screen print by Tony Knox of a war veteran, Dusty Miller, a powerful portrait made all the more interesting through its use of layering. Third was a quiet landscape study in acrylic by Anna Clark, From The Road.

about a headless nude woman whose skin has been transformed into zebra stripes. Only a few of the works had been sold when I visited, which is surprising given that the prices start from as little as £20. Even for the more pricey pieces there is the possibility of buying through the Art Council’s ‘Own Art’ scheme, in which the Williamson participates and which offers interest-free credit for purchasing original art. But of course, making art isn’t all about the selling; what this exhibition shows above everything is that people of all capabilities are engaged in creative expression for sheer pleasure and enjoyment. The Williamson Open accepts entries from any artist or photographer who has a connection to Wirral through birth, education, residency or occupation. After viewing this exhibition one has the sense that there must be something in the Wirral water to inspire such an outpouring of creativity. A bonus when visiting the Williamson is that there is an excellent café – a sit down now being a ubiquitous part of art viewing. Some critics say that the eatery has become more important than the venue but that smacks of elitism. London’s Victoria and Albert Museum bucked such highbrow notions with its advertising campaign, which included the slogan “An ace caff with quite a nice museum attached”. The Williamson also has a wide-ranging bookshop in the entrance hall and an extraordinarily well-stocked art materials shop. The latter is run by the enthusiastic and knowledgeable Kat Miturska, who is herself an artist. Entry to the exhibition is free, though donations are always welcome, and the catalogue listing all the works costs £2, which is a small price to pay considering the amount of time and effort that goes into the organising, curating, selecting and hanging of an exhibition such as this. --

My prize for the most bizarre female nude goes to Brian Minnery for his mixed media Life Study. I know animal prints are all the rage this year in women’s fashion but there is something disturbing

The Open runs until 5th May. The gallery is open Wednesday–Sunday. Words, Lorraine Bacchus

Review: Ericka Beckman & Marianna Simnett, FACT

These five works by Ericka Beckman and Marianna Simnett cover over three decades of approaching what is essentially the same question: what is the experience of being a woman within society? Stretching from 1984 to 2016 the visual languages of the artists may be different – indeed, still evolving – but it’s even more striking how little the narrative has been able to change; that all of their questions still feel essential to our own time. Ericka Beckman’s films are a fantastic blend of strong storytelling, challenging feminist subject matter, and great fun. Cinderella, after all, is a musical! A wellconsidered one too, with melodies, and dance sequences born somewhere between Broadway and the excesses of 1980s pop. It’s suitably dramatic for this modern iteration of the fairy-tale, where Cinderella’s drudgery is based on corporate production. Her fame contains her with its commercialisation, her role fixed by the very skirt that she wears. But one garment can have multiple possible meanings, as it turns out that this same skirt, seen in a new way, leads to the liberation of her identity. Computer graphics play an important part in creating the psychological setting for Cinderella and, considering the film was made in 1984, have aged well. Perhaps that’s in part down to the aesthetic: neon against black, with clear linear focuses. Stylistically, 1999/2015’s Hiatus – the second of Beckman’s films here – shares a similar aesthetic. Hiatus is set in the world of 1990s video games, perfectly capturing their aspect of unlikely, exoticised characters speaking in stock phrases. It’s also a world which offers heroine Madi an ideal break from reality, which offers a sense of freedom whilst actually being tightly controlled by virtual parameters. But this control is seized from her by Player 33, an absurdly stereotypical Texan avatar who hacks her space – and attempts to do so with her body. Even as online gaming was still developing a mainstream presence, Beckman understood that scandals like Gamergate were on the cards, almost as if harassment was encoded into the gameplay. Needless to say that Madi’s revenge, when it comes, is enormously satisfying. Upstairs, the works by Marianna Simnett approach similar themes with a higher degree of unease. Her work is very much about the female body as a site of conflict, where the circumstances of the physical form have painful consequences. Two films, The Udder and Blood, are being

images: (top) Marianna Simnett, Faint with Light, 2016. Installation view at FACT 2019. Photo: Rob Battersby. (below) Ericka Beckman, Cinderella (video still), 1986. Image courtesy the artist.

shown in tandem in the same room, and feature the same young girl as the central character. Neither is necessarily for the squeamish, particularly The Udder. Set within a cow’s udder afflicted by mastitis, scenes turn red as the treatments shown become increasingly invasive. The young girl acts as psychological interpreter, showing the desperation caused by this natal pain.

Blood, though, has the more compelling narrative of the two films. It’s a tale of two people who have been forced to reject their own bodies. Isabel’s minor nasal surgery leads to complications, we witness her being literally attacked by her own physical structures, furious that she has denied them the right to cause her pain. As one Isabel recovers, another version of herself finds help offered by

Lali, a ‘sworn virgin’ who, following ancient and increasingly rare Albanian tradition, has chosen to live her life as a man. Lali offers hospitality and assistance – but is this solution, predicated on a view of feminine as weak and frail, what Isabel needs? Despite how this may sound, there is strongly and specifically no attack on Lali’s choice to switch gender, but questions perceptions upon which the tradition is predicated – traditions in which to live autonomously as a female was a right denied. It’s left to a group of schoolchildren to explain that the best approach might be if all characters learn from each other, that binary choices aren’t inevitable. The climax of all this conflict is Simnett’s installation Faint with Light. It’s an uncomfortable place to be for more than a few minutes, as bright white flashes mirror her desperate breaths as she repeatedly induces herself to faint. It’s the sound an visuals of a battle for control being waged against her body. Who’s in control, her physiology or her will? It’s the battle at the heart of every work in this exhibition. The female protagonists of both Beckman and Simnett’s films live in between two ways of being. Fantasy and reality, or male and female, these alternative worlds offer characters ways of negotiating how to exist in accordance with their own desires. That their quests resonate so strongly reveals that this is a battle not won yet. — Ericka Beckman & Marianna Simnett, FACT, until 16th June Words, Julia Johnson, Messy Lines

Past & Present:

Samantha Browne on cultural conservation in the UK Conservation ‘engages the past in a conversation with the present over a mutual concern for the future’, to paraphrase the words of William Murtagh (1923-2018), keeper of the National Register of Historic Places in America. In the Western world conservation is a relatively new concept. For example, the Sistine Chapel frescoes (1508-1512) by Michelangelo (1475-1564) are generally considered to be the first art works subject to conservation in around 1565. This was when, to counteract the effect of saltpetre due to water penetrating through from the floor above, they were rubbed with linseed oil. This work was done by local artists because, at the time, artists were considered the best people to repair damaged artworks. It was not until 1888, when Friedrich Rathgen (1862-1942) became the first chemist to be employed by a museum, the Koniglichen Museen in Berlin, that a scientific approach to the care of objects was acknowledged. Indeed, Rathgen cemented his position as a trailblazer with his Handbook of Conservation published in 1898. The importance of art conservation is unquestionable as evidenced by the recent discovery of Madonna of the Pomegranate (Madonna della Melagrana) (c.1487) by Sandro Botticelli (1445-1510). Conservation work involving x-ray testing, infrared studies and pigment analysis by English Heritage revealed the painting is not a late imitation, as thought for decades, but from Botticelli’s Florentine workshop. Thus, this masterpiece would have been lost to the world if it had not been for specialist conservation techniques. Conservation in art is essential because an oil painting is not a permanent and unchangeable object. Oil paint is a mixture of

pigment and drying oil, and when combined these two elements initiate a complicated chemical process that continues for centuries. At present not enough is known about this chemical process, so it is difficult to predict how paints will react to conservation treatments. However, Joen Hermans at the Netherlands Organisation for Scientific Research, has managed to recreate the molecular structure of ageing oil paint without having to remove samples from original works. In the future, it is hoped that this knowledge will significantly contribute towards the conservation of old masters. Surprisingly, it is not only old masters that are providing conservation challenges in the world of art. Indeed, conservation is becoming an ever growing field as modern artists use increasingly novel materials with speculative durable qualities. For example, the technological arts are based on variable media with transient features which have become increasingly obsolete. In the video art of Bill Viola (b.1951) entitled The Sleepers (1992) for instance, long term use caused ‘screen burn-in’ on the monitor screens (i.e. grey areas to appear on the screen). The monitors used are no longer manufactured and comparable monitors are now obsolete. As a short term conservation solution, the Musée d’art Contemporain de Montréal, who own the work, purchased several last stock replacement monitors approved by the artist’s studio. Indeed, such was the recognition of the need to conserve this ever-evolving form of contemporary art, that it prompted the establishment of DOCAM (Documentation and Conservation of the Media Arts Heritage) in 2005, an international research alliance. Conservation appears therefore to be a perennial issue for museums and

galleries across the world, but challenges notwithstanding, how does a gallery or museum choose which one of its treasures to conserve? For larger institutions working with masterpieces this question is perhaps far easier to answer than it is for smaller establishments, mindful of decreasing budgets, the fickleness of social interest and ethical concerns. Arguably however for small institutions the answer is to think trendy. The Atkinson in Southport, for instance, is holding an exhibition entitled Cross Pollination in May and this floral focus fits in well with current trends. Flowers are big business at the moment. For example, in the UK the fresh cut flower and indoor plant market is worth £2.2 billion. Putting this into perspective, the UK music industry is worth around £2 billion. Moreover, 60% of this total is spent by people buying flowers for themselves. The synthetic recreation of nature’s beauty in art may seem inferior, but art crystalises a moment in time and in so doing, provides primary source evidence of the human story. A fashionable theme in an exhibition not only provides a good premise for deciding on which pieces to conserve, but an exhibition also creates a tangible objective. So, when The Atkinson Development Trust, a local charity set up with the aim of supporting The Atkinson, asked to help with the exhibition, the answer was clear. After discussion with the gallery’s curator, the Trust agreed to raise funds for the conservation of a Chinese silk pleated floral skirt which has never been displayed at The Atkinson before. If this beautiful textile art is viewed through the crypto-lens of floriography, it is highly likely that it conveys a message of marital

bliss. The peonies embroidered on the front and back panels symbolise romance and prosperity and are regarded as an omen of good fortune and a happy marriage. The plum blossom symbolises perseverance and hope, as well as beauty, purity, and the transitory nature of life. The skirt was chosen partly because textiles do not make it into exhibition spaces as much as they should, and this item is a superb example of free hand embroidery. Other factors included conservation costs and the social significance of the piece. The costs are relatively feasible as the work needed is not too extensive, and, as Liverpool has the largest Chinese community in Europe, it is hoped by highlighting this piece that the public will learn more about the history of Merseyside. Cultural conservation provides a unique perspective on the human story. An item needing conservation exposes our failings, but a conserved item also opens doors to a better future. None of this would be possible however without the truly talented conservators we have today. Without them, many beautiful and historically significant pieces tucked away in the dark storage rooms of our museums and galleries, would never see the light of day. -For a career in the conservation of cultural heritage visit: Cross Pollination will be at The Atkinson 25 May–4 April 2020. Words, Samantha Browne


Physical Fest returns to Liverpool this June for a 6-day extravaganza

New Funding Allows Open Eye Gallery to Launch New Programmes of Co-Authored Culture New funding for Open Eye Gallery is allowing them to significantly scale up their work in socially engaged photography over the next three years. Working with new resources from Paul Hamlyn Foundation’s Access and Participation Fund, the organisation is introducing new projects across the region that seek to explore how culture can be co-authored with people. These projects will include a new community photography hub, a programme working with prisoners, and a new set of artist residencies with public health organisations.

The UK’s only international physical theatre festival returns to Liverpool this June for a 6-day extravaganza of performance, workshops and more. A celebration of the rich variety of local, national and international contemporary physical work, brought to you by Liverpool’s own Tmesis Theatre, Physical Fest will take over the Unity Theatre from 10th-15th June, as well as venturing out further afield to The Capstone Theatre at Liverpool Hope University and the Royal Albert Dock. Following a break last year, Physical Fest returns as an officially bi-annual event from 2019, featuring a range of performers from across the globe. Izumi Ashizawa will perform and hold workshops at Physical Fest 2019Highlights include Izumi Ashizawa, who incorporates traditional Japanese performance styles and puppetry into her hauntingly beautiful show ‘I Cried Because I Had No Shoes Until…‘, as well as the American sensation of gender trickery and audience immersion, Butt Kapinski who will invite Liverpool audiences to co-star in a choose-your-own-adventure murder mystery. Further highlights from the performance programme come from the two winners of Physical Fest’s Female Artist Bursary Award. Manchester-based Meraki Colelctive will showcase their new visually captivating and belly laugh inducing dance theatre work ‘Kill a Witch or Die Trying‘, whilst Liverpool’s own Rowena Gander explores the extrinsic value of sexualised and exaggerated femininity in her new piece ‘The Ten Inch Heels‘. A new outdoor performance featuring a cast of 14 women from Tmesis Training Company – a professional performance project for emerging physical performers – entitled ‘Wicked Women’ also features in the eclectic summer line-up. In addition to the packed line-up of performances, Physical Fest will also feature an exciting programme of workshops, with amazing practitioners from Japan, USA, Finland and the UK providing training on a variety of physical theatre disciplines, as well as giving attendees the chance to meet new people and see some incredible physical performance work up close and personal.

This support comes at a pivotal time for Open Eye Gallery, as it moves towards embracing a model of coauthorship across all of its activity. In this way of working, the organisation brings various photographers, groups and organisations together to co-produce collaborative projects about social, political, economic or environmental issues that reflect the voices of everyone involved: making culture with people, rather than just for people.

over 60 in the area, as part of their Young at Art initiative with FACT and National Museums Liverpool, leading to an intergenerational photography hub. New artist residencies with healthcare organisations NHS Merseycare Foundation Trust and Community Integrated Care will also shortly be announced, in which photographers will work with people to explore how photography can be instrumental in managing mental health. Other major projects from Open Eye Gallery this year include LOOK Photo Biennial 2019, the culmination of a two-year period of international exchange with China. Open Eye Gallery is based at 19 Mann Island, Liverpool, but also programmes extensively in other venues: last year, it staged 22 exhibitions locally and internationally. It is the only dedicated photography gallery in the North West, and one of the only galleries dedicated to exploring how we use photography today.

Throughout this period, the gallery will periodically showcase work produced from all of its co-authored projects in its gallery space, on its digital window gallery, online, and in publications. Two new roles have already been created to lead this activity: Liz Wewiora, Head of Engagement and Andy Yates, Young People’s Creative Producer. Amongst the projects planned is a new initiative with NOVUS educational organisation, who with funding support from Paul Hamlyn Foundation will develop a two year prison programme supporting those within the criminal justice system and their families to use photography as a form of learning and expression. A new collaboration with local residents from Clubmoor will seek to establish a self sustaining photography hub in North Liverpool, operated with participants of community organisation My Clubmoor. In the run up to this, Open Eye Gallery will establish a programme working with people

images: Jemma O’Brien, part of Kirkby Futures, 2019

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As Seen on WoWFest have announced a packed programme Screen: The new for 2019 Arts Council collection exhibition coming to Walker Art Gallery

image: Anthea Hamilton Venice Kimono 2012. Arts Council Collection Southbank Centre London the artist

A new exhibition at Liverpool’s Walker Art Gallery will explore the relationship between art and cinema, delving into the fascinating question of what inspires artists. As seen on screen: art and cinema (31 May to 18 August 2019) features work by artists including Fiona Banner, Anthea Hamilton, Hardeep Pandhal and Sam Taylor-Johnson. The exhibition considers the influence of cinema on art across more than 20 artworks. The works represent a broad range of media, including screenprints, photography and film. As seen on screen showcases Merseysideborn artist Fiona Banner’s The Desert; a five metre-wide screenprint which retells the epic 1962 film Lawrence of Arabia. The large scale of the artwork brings to mind the experience of gazing up at a cinema screen. As seen on screen is the eighth and final show to be held at the Walker as part of the Arts Council Collection’s National Partners Programme exhibition series (2016-2019), and features more than 20 artworks from the Arts Council Collection. More: asseenonscreen

Writing on the Wall, Liverpool’s longest running writing & literary organisation, announce our 20th annual festival programme: WoWFEST 2019 – Where Are We Now? ft. Jo Brand, Peter Tatchell, Ben Okri, Kit De Waal, Jennifer Makumbi, Dina Nayeri, Cheryl Martin, Tony Platt, Phil Scraton, Lynsey Hanley, Laura Waddell, Bahriye Kemal, Paul Scraton, Gary Budden Kerry Hudson, Dave Ward, James Meek, Ros Wynne Jones, Costas Lapavitsas, Anita Sethi and Jess Green. Change is in the air. All that is solid, like the icecaps, is melting into air. Things fall apart – can the centre hold? The rich are getting richer, but otherwise uncertainty is the order of the day; Brexit, climate change, class, feminism, gender, race, populism, fake news, digital surveillance, and more, much more, are changing and challenging all our old conceptions. The stage is now set at WoWFEST 19 to seek answers to the question ‘Where Are We Now?’ Writing on the Wall Co-Director Madeline Heneghan, says: ‘Writing on the Wall’s 2019 festival theme ‘Where Are we Now?’ couldn’t be more relevant given the shambles of this week’s Brexit vote, but this question applies to so many more issues. Our programme is designed to give audiences a space for discussion, debate, new ideas, and answers to the questions that people across the nation are asking. We are proud to deliver such a high-quality line up for Liverpool during our 20th annual festival.’

Programme highlights: Born Lippy: Jo Brand in Conversation Sometimes it’s hard to be a woman and sometimes it’s time to be a hard woman. Tickets: Queer Are We Now?: Peter Tatchell, Keynote Speech 50 years since the Stonewall rebellion, WoWFest welcomes human rights activitst Peter Tatchell for their keynote speech. Tickets:

‘Crime’, Punishment & The Politics of Fear Tony Platt & Phil Scraton In Conversation Renowned criminologists and sociologists discuss the social and political consequences of criminalisation. Tickets: Inside Pale Eyes: A Dream Noir Book Launch accompanied by drawings from Bryan Biggs. A unique collection of flash fiction and observations of urban life accompanied by drawings from Bryan Biggs. Tickets:

An Evening with Booker Prize Winner Ben Okri Booker Prize-winning Nigerian writer, Ben Okri discusses his contribution to literature and his latest novel, The Freedom Artist. Tickets:

Divided Cities with Bahriye Kemal, Paul Scraton and Gary Budden three writers share vivid portraits of their cities, from militarised borders to remembering divided pasts and places. Tickets:

A Self-Help Guide to Being in Love with Jeremy Corbyn Following her five star show at Edinburgh Fringe, Jess Green returns with a rousing, lyrical and humorous look at modern politics. Tickets:

Common People – Class in the Margins in Writing and Publishing Almost half of all UK authors, writers and translators come from middle-class backgrounds. So where are the workingclass writers? Tickets:

Citizens of Nowhere with Jennifer Makumbi and Dina Nayeri How can refugees and migrants be heard in such a hostile environment; What happens after you are displaced? Tickets:

The B-Word: Where Are We Now? Join James Meek, Daily Mirror Lead Feature Writer Ros Wynne-Jones, Costas Lapavitsas and Guardian Journalist Anita Sethi to discuss what happens now with B*****. Tickets:


LightNight’s 2019 programme is out now

Clockwise from top left: bido lito RITUAL 2.0 HR; Demolition Memorial Keepsake — anti-cool; Richie Moment, Cheriton, c. Kevan Smith; Kinship at Open Eye Gallery

This year, as Open Culture mark their tenth annual festival, artists, arts organisations and heritage venues across the city are coming together to explore our theme of ‘ritual’; the significant and the everyday, personal and communal, public and private.

Projectile Vomit, BidoLito, anti-cool, Rory Ballantyne, Vincent Moon & Priscilla Telmon. Movema, Milapfest & Bombay Baja Brass Band taking centre stage, we’ve run through some of the major visual art events ahead of this year’s LightNight:

On Friday 17 May you can follow your own culture crawl around the city centre, enjoying over 100 free events. With everything from street performance, concerts and installations to hands-on workshops, exhibitions and tours there is something for all ages and interests. Read more about a few of this year’s events below.

Bido100 and Merseyrail present RITUAL 2.0 — Sam Wiehl & Forest Swords Moorfields Station Tunnel A large-scale, public realm audio-visual installation, developed by artist Sam Wiehl with an accompanying soundtrack mix by Forest Swords.The project will encourage the public to consider a creative future based on Artificial Intelligence.

You can buy your festival guide now from the online shop. All sales of festival guides go towards supporting the festival and keeping LightNight events free.

Híbridos, The Spirits of Brazil — Vincent Moon & Priscilla Telmon Victoria Gallery & Museum In an immersive multi-screen installation Híbridos is a poetic and ethnographic

With commissions from Richie Moment,

exploration of the world of diverse sacred ceremonies, breaking down the distance between the viewer and the subject. The Peaks & Troughs of Modern Rituals — Richie Moment St George’s Hall East Portico Steps Eight light sculptures are shrines to the popular culture we engage with on a daily basis. Their bright colours celebrate convenience food, celebrity and the days of TV on demand, they also hide a darker musing of how much of a good thing is too much of a good thing? Demolition Memorial Keepsake — anticool Bluecoat Liverpool based Japanese artist anticool presents a multi-screen video and sculpture installation exploring memorial objects. Inspired by Japanese cremation

ceremonies. Mural Making with Laura Callaghan FACT Draw your own character and add it to a collaborative mural. Take inspiration from FACT’s new Learning Space mural and create your own visual story. Kinship Open Eye Gallery All six artists in this exhibition are women, and the projects collected together seek to uncover the ways people build close relationships amongst each other that feel like family. Sea Fever – Revolutionary Nature The Oratory An exhibition of watercolour paintings created with children from LIPA Primary School, projected inside The Liverpool Oratory.

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New commission, Shell-ter, celebrates Southport’s sculptural heritage Yorkshire-based public artist Kate Maddison of Chrysalis Arts will be inspiring the town of Southport this May as part of the largest ever sculpture project undertaken in Britain. Over the next two years, Art UK is aiming to digitise around 160,000 sculptures, which are located inside galleries, museums and public buildings and outdoors in parks, streets and squares, across the length and breadth of the UK. Many of these are already viewable on the free-to-access website for enjoyment, learning and research – the first database of its kind in the world. A key aim of the project is to engage new audiences with sculpture. Collections and artists across the UK will therefore join Art UK in delivering a series of projects and events which will celebrate local sculptural heritage under the banner ‘Sculpture Around You’ between now and May 2020.

Local creatives showcased at Summer Arts Market

As part of this national programme of events, Kate Maddison has developed shell-ter; a slow art sculpture and community project which will take place in Southport between the 1-4 May 2019. Working in collaboration with local partners The Atkinson, Southport Contemporary Arts (SCA) and Southport Eco Centre, a slow art ceramic shell sculpture will be created in the garden of the Eco Centre with contributions from SCA members, then celebrated during a family afternoon hosted by The Atkinson on Saturday 4 May.

The project revisits sculpture in Southport following the 10-year anniversary of one of the town’s notable works of public art. Kate is the public artist who previously led the Chrysalis Arts team to create the Nautilus sculpture during the award-winning refurbishment of Lord Street which was opened by Ken Dodd in October 2008.

the local arts community then adding their own personalised ceramic pieces to the artwork. The shell sculpture will be 2 x 1.5 x 1.3 metres, made from ceramic glazed tiles and bricks donated by Chrysalis Arts, salvaged from Shaws of Darwen when they still made traditional architectural terracotta.

To create shell-ter, Kate will partner with expert dry-stone waller Philip Dolphin to build a ceramic shell in the garden of Southport Eco Centre; with members of

For more on the Sculpture Project head to

Open Culture return to the Grade I listed Liverpool Cathedral to stage the region’s largest and most popular arts market. Over 200 curated artists, designers and makers will exhibit and sell work at the Summer Arts Market on Saturday 1 June 2019.

Transforming the awe-inspiring cathedral into a discerning shopper’s wonderland, the bustling market offers thousands of handmade and locally produced goods ranging from bespoke jewellery, clothing and accessories to decorative prints, paintings, homewares and beauty products.

The Craft Lab is back for families to get crafty themselves in a hands-on creative workshop led by the Silly Scientists from KECS Creative.

Alongside the art and design on sale, a dedicated Vintage Fair will be stocked full of summery vintage fashions and accessories from Liverpool’s best-loved vintage sellers and the Food Fair will feature craft beer and liqueurs, sweet and savoury baked treats, vegan and gluten free options plus blended teas, artisanal chocolate and preserves. “Our visitors come back year after year to pick up beautifully crafted handmade items from our makers, all of whom are based within the North West. Shopping locally helps to support the local economy as well as reducing your carbon footprint, as the items purchased at the market have travelled far less distance to reach you” Charlotte Corrie, Open Culture Director

Just a handful of the 200+ exhibitors include; Liverpool based printmaker Frieda McKitrick; Huyton jeweller Claire Worthingtonl; Anfield’s community-owned Homebaked in the food fair; New Brighton based artist Kiaya Thomas; Wavertree based woodworker Peter Bennett from Elabora; South Liverpool’s Artefact Vintage

For a preview of more artists and makers visit


Increased numbers, more diverse, and younger – Liverpool Biennial’s impact published Independent research reveals a growing impact, broader demographic and increased visitor satisfaction with the programme of Liverpool Biennial in 2018. Among the key findings from the research carried out by BOP Consulting are: The 10th edition attracted 160,730 visitors – an increase of 47% compared to 2016 – who made over 660,000 visits. More than half were first-time attendees. The Biennial continues to play an important role in Liverpool’s status as a world-leading cultural destination. 50% of visitors in 2018 came from outside the North West of England, including 14% international visitors. Audiences were more diverse and younger – 11.2% described their ethnicity as nonWhite and 38% of visitors were aged under 30, compared to 30% in 2016.

Research showed a high level of engagement and satisfaction with the 2018 programme. Over 90% of attendees rated their experience as good or very good and findings also showed that the Biennial has a clear socially-focused role. In addition to its social role, the 2018 Biennial also had an economic benefit to the city and region, with a total net contribution to the Liverpool economy of £6.6 million, the equivalent to 198 permanent full-time jobs. Overall, the research recognised Liverpool Biennial as having both strong international recognition and local relevance, which contributes to its overall quality. The 10th Liverpool Biennial, Beautiful world, where are you? curated by Kitty Scott and Sally Tallant with the Biennial team, ran for fifteen weeks from 14 July to 28 October 2018 in venues and public spaces throughout the city. These included Tate Liverpool,

Holly Hendry, Cenotaph, 2018. Photo by Pete Carr

Bluecoat, FACT, Open Eye Gallery and St George’s Hall, as well as outdoor locations across the city. More than 40 artists from 22 countries participated in the programme in 2018, making Liverpool Biennial the largest festival of contemporary visual art in the UK. Kathleen Soriano, Chair of Liverpool Biennial, welcomed the new report: “This new report proves the power of Liverpool

Biennial to reach beyond the established boundaries for engagement with contemporary art, and demonstrates the Biennial’s role in defining Liverpool as one of the great cultural cities of Europe. We are moving forward with our plans for 2020, as Fatos Üstek takes up her role as Director in May, starting an exciting new chapter in the history of the Biennial.”

Matisse & Rembrandt: Lady Lever snares two masters of art for duo of Wirral exhibitions The Lady Lever Art Gallery has announced that it will be opening an exhibition by one of the 20th century’s most influential artists, Henri Matisse (1869-1954). Matisse: Drawing with Scissors will open in October 2019 and will feature 35 posthumous prints of the famous cutouts that the artist produced in the last four years of his life, when confined to his bed, including many of his iconic images, such as The Snail and the Blue Nudes. The exhibition will follow directly on from Rembrandt in Print (1 June to 15 September 2019), an exhibition of around 50 outstanding prints from the Ashmolean Museum, which have never been displayed together. Sandra Penketh, Director of Art Galleries, National Museums Liverpool, said: “These are two very different artists but what they have in common is their great renown and enormous influence. We’re very excited to be bringing two world-famous artists to our visitors, back-to-back, during the Wirral Borough of Culture Year. “We are proud to announce today that Matisse: Drawing with Scissors is coming to Wirral for the first time in over ten years. The exhibition will include many of the artist’s iconic images, such as The Snail and the Blue Nudes. “We will also be the first gallery to display Rembrandt in Print, in the year which also marks 350 years since Rembrandt’s death”.

Rembrandt in Print 1 June to 15 September 2019

Matisse: Drawing with Scissors 25 October 2019 to March 2020

Rembrandt in Print is an exhibition of around 50 outstanding prints from the Ashmolean Museum, displayed together for the first time to mark 350 years since Rembrandt’s death.

Matisse: Drawing with Scissors is a Hayward Gallery Touring exhibition from Southbank Centre. The French painter, sculptor and designer, Henri Matisse (1869-1954) was one of the 20th century’s most influential artists. His vibrant works are celebrated for their extraordinary richness and luminosity of colour and his spectacular paper cut-outs were his final triumph.

This exhibition will present Rembrandt Harmensz van Rijn (1606-1669) as an unrivalled storyteller through a selection of printworks dating from 1630 to the late 1650s. Widely hailed as the greatest painter of the Dutch Golden Age, he was also one of the most innovative and experimental printmakers of the 17th century, and the works displayed at the Lady Lever will cover a varied selection of subjects, including intense self-portraits, atmospheric landscapes, intimate family portraits, biblical stories and confronting nude studies.

The exhibition will feature 35 posthumous prints of the famous cut-outs that the artist produced in the last four years of his life, when confined to his bed. It includes many of his iconic images, such as The Snail and the Blue Nudes.

culture declares


Ericka Beckman Marianna Simnett FACT

18th Knowsley Open Art Exhibition Kirkby Gallery

New Makers Bluecoat Display Centre

Current Exhibitions Measured: Adrian Jeans Art in Windows (Regent Road), until 30 June Adrian Jeans exhibits his signature heads, which reflect his on-going practice of the portrait sculpting tradition.

Crosby Schools Photographic Competition Crosby Library, until 10 May The winning images from this year’s Crosby Schools Photographic Competition are on public display



18th Knowsley Open Art Exhibition Kirkby Gallery, until 4 May Artists of all ages who live, work, study or volunteer in Knowsley come together to exhibit

Vincent Kelly Naked Lunch, until 17 May An Exhibition of recent Digital prints by Vincent Kelly --

New Art Bluecoat Bluecoat, until 23 June Throughout 2019, the Vide space is hosting exhibitions about Bluecoat’s long history as an arts centre, the first in the UK

The Female Gaze: Women Depicting Women dot-art, until 4 May Each artist depicts women in their work, capturing and exploring identity and the complex representations of women


-Fresh Perspectives Lady Lever Art Gallery, 29 March – 6 May Artwork from the artists, makers and creatives of the future with this unique exhibition providing GCSE and A level students the chance to display their artwork in a national gallery

In Character RIBA North, until 1 June Studio MUTT bring the elaborate writings of Sir John Soane to life in an exhibition where ornament, colour and form explore how architecture can communicate to us --

-Survey Bluecoat, until 23 June Discover a major study of new work by early-career artists from across the UK.

-On the Wing – Ruth Thomas Editions Ltd., until 11 May Hand-made original prints, incorporating direct impressions from natural objects

Double Fantasy – John & Yoko Museum of Liverpool, until 3 November John and Yoko’s story in their own words

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

--New Makers Bluecoat Display Centre, until 8 June Celebrating the work of recent graduates and newly emerging designer makers, chosen for their innovative design qualities and making skills --

Ericka Beckman Marianna Simnett FACT, until 16 June Two female artists who both use technology and classic tropes of fairy tale storytelling to create artworks that are alluring and repelling, sensual and troubling

-The Provincial Grand Orange Lodge of Liverpool Museum of Liverpool, until 28 September A community display at the Museum of Liverpool explores the history of the Orange Lodge in Liverpool --


-The Sensory toolkit: We Are Open Tate Exchange, until 5th May Step inside a 3D sketchbook and experience an artist’s journey of discovery --

Find FULL listings and events information at In Character RIBA North

The Williamson Open Williamson Art Gallery

Let The Hands Do The Talking The Royal Standard

Charles Rennie Mackintosh, Making the Glasgow style Walker Art Gallery

Arthur Jafa – Love is The Message, The Message is Death Tate Liverpool, until 12 May The seven-minute video shows a montage of historic and contemporary film footage to trace African American history and experience

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

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.

--Op Art in Focus Tate Liverpool, until 2 June Op art – short for optical art – emerged in the 1960s. Its leading figures included Bridget Riley, Jesus Rafael Soto and Victor Vasarely

-Let The Hands Do The Talking The Royal Standard, until 17 May The exhibition explores the value of experiencing the artist’s making process. Highlighting how artworks are made, whilst addressing the evolving nature of arts practices

Baroque Art from Rome to England Walker Art Gallery, until 16 June Matthias Stom & William Dobson’s ‘The Executioner with the Head of John the Baptist’ --

-Ideas Depot Tate Liverpool, until 21 July A dynamic display of artworks chosen for primary school children to be enjoyed by everyone

-Leonardo da Vinci: A Life in Drawing Walker Art Gallery, until 6 May To mark the 500th anniversary of the death of Leonardo da Vinci, 144 of his greatest are on display in 12 simultaneous exhibitions across the UK


The Williamson Open Williamson Art Gallery & Museum, until 5 May The Williamson Open continues a tradition stretching back to 1913 .

WHAT’S ON > COMING SOON Northern Stone and Peat Smoke by Anthony Ratcliffe Kirkby Gallery

LIGHTNIGHT: Kinship Open Eye Gallery

LIGHTNIGHT: Híbridos, The Spirits of Brazil Victoria Gallery & Museum

LIGHTNIGHT: Sea Fever – Revolutionary Nature The Oratory, 17 May, 5-9pm An exhibition of watercolour paintings created with children from LIPA Primary School, projected inside The Liverpool Oratory. -LIGHTNIGHT: Arrival City FACT, 17 May, 4-11pm A portrait of Liverpool, and more specifically Toxteth, as a city of immigration. -LIGHTNIGHT: To Cultivate Compassion Art in Windows (Bold Place), 17 May, 5-11pm An attempt to re-balance our emotional and physical links with the animals we depend upon.


Astronomy Photographer of the Year World Museum, 3 May-1 September 100 images from the 2018 competition will be displayed to coincide with the 50th anniversary of the moon landing.

LIGHTNIGHT: Not Just Collective – Shadowplay Liverpool Central Library, 17 May, 6-11pm An evening featuring a pop-up gallery, procession, storytelling, music, poetry and Morris dancing.

--Differences – Eleonora Asparuhova 24 Kitchen Street, 12 May, 12-5:30pm A 365 illustration challenge aiming to raise awareness about differences between people through the medium of illustration. -LIGHTNIGHT: Donna Summer Fever Constellations, 17 May, 5-10pm Every year, disco fans gather in Liverpool to mark the anniversary of the death of Queen of Disco Donna Summer. Artist collective, Projectile Vomit, erect an audiovisual shrine.

LIGHTNIGHT: The Peaks & Troughs of Modern Rituals St George’s Hall, 17 May, 5-10pm Eight contemporary light sculptures installed at the historic St. Georges Hall Plateau.

-LIGHTNIGHT: Rituals of the Mundane Road Studios, 17 May, 5-11pm To celebrate relocating to Northern Lights, ROAD Studios is hosting a temporary gallery in the Luna Space. -LIGHTNIGHT: Amadeus Kylux Make. Baltic, 17 May, 6-10pm Amadeus Kyulx’s work examines the roles played out in ‘x’ situation using iconography.


-Northern Stone and Peat Smoke by Anthony Ratcliffe Kirkby Gallery, 20 May-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. -Something Borrowed, Something New – Ian Irvine vs the VG&M Victoria Gallery & Museum, 25 May-19 October Artist Ian Irvine applies a subversive, contemporary twist to the VG&M’s collection of historic paintings. -As Seen on Screen: Art and Cinema Walker Art Gallery, 31 May-18 August Exploring the relationship between art and cinema, delving into the fascinating question of what inspires artists. -Wirral Met Degree Show Williamson Art Gallery, 18 May-10 June

-LIGHTNIGHT: Blood Rituals LJMU John Lennon Building, 17 May, 5-10pm Dignity Without Danger presents a collaborative multi-part installation examining rituals surrounding menstruation.

-LIGHTNIGHT: Clubtogether Sevenstore, 17 May, 6-10pm An exhibition and digital installation by design studio Dorothy.

Cycling Through Time Williamson Art Gallery, 11 May-22 Sept A display of historic bicycles from the collection of National Museums Liverpool




-LIGHTNIGHT: Híbridos, The Spirits of Brazil Victoria Gallery & Museum, 17 May, 5-10pm A multi-screen installation by international artist duo Vincent Moon and Priscilla Telmon.

LIGHTNIGHT: Ritual 2.0 Moorfields Station, 17 May, 5-10pm bido lito! and Merseyrail present a new work set within the subterranean tunnels of Moorfields station.

LIGHTNIGHT: OUTPUT Open OUTPUT gallery, 17 May, 5-10pm An annual group exhibition that brings together artists operating in the local art scene.

LIGHTNIGHT: Kinship Open Eye Gallery, 17 May, 5-10pm Kinship looks at how women are using photography to reflect upon their sense of kin.

Vessels Williamson Art Gallery, 11 May-22 Sept Models and rarely seen historic artefacts feature alongside much-loved and new artwork

Find FULL listings and events information at LIGHTNIGHT: Drag LabEveryman Theatre, 17 May, 8-11pm Enter this experimental, transitional space to be reborn as you ask, ‘what does drag means to you?’

LIGHTNIGHT: Drag Queen Story Time, with Nightbus FACT

LIGHTNIGHT: Follow My Doodle Arena Studios & Gallery, 17 May, 6-10pm Open Studio, with drop-in activities for all the family. --

-LIGHTNIGHT: The Ritual of Sharing Food Bluecoat Display Centre, 17 May, 6:307:30pm New Makers artist, Natalie Moon will talk about her contemporary ceramics that challenge our perception of ‘the plate’ and how it is used. -LIGHTNIGHT: Wicker Women Ceremony Blackburne House, 17 May, 7-10pm Bring the Fire Project tells the story of women’s struggles to be free through fire dancing, poi and staffs.

LIGHTNIGHT: Pachamama Liverpool Central Library

-LIGHTNIGHT: Insane Places: Rituals, Recovery and Rhyme The Athenaeum, 17 May, 8-9pm North End Writers presents poet Pauline Rowe’s Insane Places: rituals, recovery and rhyme. -LIGHTNIGHT: Hidden Elements St George’s Hall, 17 May, 6-10pm Liverpool Empire Youth Musical Theatre Company explores the concept of performance as ritual.

Talks, Tours & Performance Objects in Focus Victoria Gallery & Museum, 2&16 May, 3:30pm Louise Waller gives a short introduction about an artwork from the collection.


WOWFEST: Mike Leigh: Peterloo Screening and Q&A Plaza Community Cinema, 13 May, 6:30pm The 1819 massacre in St Peter’s fields is brought graphically to life in Mike Leigh’s latest epic film Peterloo.

--Celebrating Sculpture in Southport The Atkinson, 4 May, 1pm Join the artists behind the Nautilus sculpture for hands-on creative making. -Knowsley Affordable Art Auction Kirkby Gallery, 9 May, 5-8pm Knowsley Open Art Exhibition works will be sold at live auction, conducted by celebrity auctioneer Adam Partridge. -WOWFEST: 1919 Race Riots – Centenary Walking Tour Chinese Arch, 12&26 May, 1:30pm Walk the same streets as the riots with the testimony of those most effected, bring this crucial piece of history back to life.

Liverpool Artists’ Network Slide Slam The Cornerstone, 14 May, 6:30pm Join artists and speakers at the latest LAN meeting to find out about projects starting and ongoing in the city. -WOWFEST: Queer Are We Now? Leaf, 15 May, 7:30pm WoWFest’s keynote speech from human rights activist Peter Tatchell, focussing on the 50th anniversary of the Stonewall Rebellion, with Homotopia curator Cheryl Martin. --

LIGHTNIGHT: Brunt Boggart: A Tapestry of Tales Blackburne House, 17 May, 8:15pm Snuffwidget and the Crow Dancers combines a backdrop film of ritual dance, folk fiddle and drum music . -LIGHTNIGHT: Rituals, Words & Stories The Athenaeum, 17 May, 6:30-7:30pm New writing – poems, stories and reflections on ritual in experience, memory and every day life. -LIGHTNIGHT: The Advocacy Story Blackburne House, 17 May, 6-7pm Witness 30 years of radical history in this Heritage Lottery funded performance celebrating People First Merseyside. -LIGHTNIGHT: Stories from the Fireside Baltic Creative, 17 May, 7-10pm A creative tour of Baltic Triangle with five stories from the flames produced by Paperwork Theatre.

LIGHTNIGHT: Pachamama Liverpool Central Library, 17 May, 8-9pm A multi-disciplinary performance by LUMA Creations with street arts, circus, dance and music. -LIGHTNIGHT: Constellations World Museum, 17 May, 6-7pm Join MDI, Merseyside Youth Dance Company, 50 Moves and Men!Dancing! for an immersive 15-minute dance performance. -LIGHTNIGHT: Ritual and Identity: Ancient and Modern Garstang Museun, 17 May, 5-10pm Tours and Talks; Explore identity and ritual in the ancient and modern world. -LIGHTNIGHT: Music, Movement, Ritual and Adornment Walker Art Gallery, 17 May, 5-10pm Performances by LIPA students at intervals throughout the evening, featuring garments by students from LJMU. -LIGHTNIGHT: The Ritual of Voting Unity Theatre, 17 May, 5-10pm Take to the polls for a voting experience like no other! -LIGHTNIGHT: Scottie Rd Writers Liverpool Central Library, 17 May, 8-11pm Scottie Road Writers bring to life original short stories & poems, based around this year’s theme of ‘ritual’. -LIGHTNIGHT: Tony Conrad: 10 Years on the Infinite Plain Tate Liverpool, 17 May, 7-8:30pm Head to the Wolfson Gallery for a special performance of Tony Conrad’s audio-visual meditation. -LIGHTNIGHT: Difficult Displays in Museums World Museum, 17 May, 6:30-7:45pm An interactive discussion on the routines and rituals museums go through as they decide whether or not to display human remains. --

WHAT’S ON > COMING SOON LIGHTNIGHT: Living Room, LAAF Liverpool Town Hall, 17 May, 5:30-10pm Liverpool Arab Arts Festival and Liverpool Arabic Centre invite visitors to drop into a traditional Arabic ‘Living Room’.

LIGHTNIGHT: Dandelion Flowers Ice Cream, Liverpool Biennial Maray

Curator Tour FACT, 22 May, 6pm Learn more about Ericka Beckman and Marianna Simnett, and why FACT have dedicated 2019 to discussing issues of identity, representation and gender.

--LIGHTNIGHT: Death Café Liverpool Cathedral, 17 May, 7:45-8:15pm A place where people from all walks of life can gather, share and discuss their perspectives in a friendly and informal setting. -LIGHTNIGHT: A Unique and Spectacular Event LJMU John Lennon Building, 17 May, 7-10pm Beginning as a video game and ending as an interaction between two strangers.

LIGHTNIGHT: School Girls – Cath Garvey Liverpool Medical Institution

-LIGHTNIGHT: Ancestral Voices: The Navagraha Ritual LJMU John Foster Chapel, 17 May, 8-10pm A multi-sensory meditative journey into the ‘nine celestial bodies’, using harmonic scales and technology inspired by ancient civilisations. -LIGHTNIGHT: New Spaces, Technology and Dance LJMU John Lennon Building, 17 May, 7:309:30pm New media projection installation interspersed with live interdisciplinary dance performances.

Talks, Tours & Performance

LIGHTNIGHT: Rubbish Shakespeare Liverpool Central Library, 17 May, 6-7:30pm Rubbish Shakespeare Company present three madcap pop-up scenes of A Midsummer Night’s Dream.




LIGHTNIGHT: Street Party Windsor Street, 17 May, 6-10pm A street party filled with performance, spoken word, dance, music, food, film and arts. --

WOWFEST: Citizens of Nowhere Bluecoat, 23 May, 7pm Award winning authors Jennifer Makumbi and Dina Nayeri discuss migration and refuge providing insights into resettlement, identity and community. -With For About: Art & Democracy St Helens (Venue TBA), 23 May, 9:30am5:30pm Heart of Glass present the fourth annual With For About conference in St Helens. This year’s theme is Art & Democracy. -WOWFEST: A Self-Help Guide to Being in Love with Jeremy Corbyn Unity Theatre, 24&25 May, 7:30pm BBC Slam Champion, Jess Green, follows five star reviews at the Edinburgh Fringe with a rousing look at modern politics. --

LIGHTNIGHT: Permutations RIBA North, 17 May, 5-10pm A new musical work by Freya WaleyCohen, and an architectural installation by Finbarr O’Dempsey and Andrew Skulina.



-LIGHTNIGHT: Drag Queen Story Time, with Nightbus FACT, 17 May, 5-7pm Storytelling for children and adults alike, drop in with your family and enjoy a series of stories inspired by fairy tales.

LIGHTNIGHT: Dandelion Flowers Ice Cream, Liverpool Biennial Maray, 17 May, 5:30-6:30pm Jorge Menna Barreto invites you to become part of a delicious experiment about our relationship with food.

WOWFEST: The Freedom Artist: An Evening with Ben Okri Bluecoat, 22 May, 6:30pm Booker Prize-winning Nigerian writer Ben Okri discusses his contribution to literature and his latest novel, The Freedom Artist.

LIGHTNIGHT: Halo Exchange Flags, 17 May, 5-11pm A new participatory sonic and visual kinetic environment made up of columns of ever-evolving patterns of light and sound. -LIGHTNIGHT: School Girls – Cath Garvey Liverpool Medical Institution, 17 May, 6:1510pm Playful animations with commentary between two sisters that explores being working class, social constructs and humorous stories. --

LIGHTNIGHT: Demolition Memorial Keepsake Bluecoat, 17 May, 5-10pm Liverpool-based Japanese artist anti-cool explores memorial objects, funerals and ceremonies from different cultures. -WOWFEST: ‘Crime’, Punishment & The Politics Of Fear Bluecoat, 20 May, 6:30pm Renowned criminologists and sociologists Tony Platt and Phil Scraton discuss the social and political consequences of criminalisation. --

Ericka Beckman: Double Bill FACT, 29 May, 6:30pm Enjoy a back-to-back double bill of films by Ericka Beckman including We Imitate; We Break Up (1978) which follows a young female protagonist as she imitates the actions of Mario, a marionette puppet. -WOWFEST: Inside Pale Eyes: a dream noir book launch Bluecoat, 29 May, 7pm Writer Dave Ward reads from his new publication Inside Pales Eyes, a unique collection of flash fiction and observations of urban life, accompanied by drawings from Bryan Biggs. .

Find FULL listings and events information at

Classes & Workshops

Fairy Tale Liberation Club FACT

Almost all of these workshops need booking, please go to the website to find booking links & further event information for all of the below

Open Space: How can we begin to take care of ourselves while working with, for and about others? Heart of Glass, 2 May, 10-4pm As cuts to funding begin to impact even more severely on communities and artists working with them, Open Space explores notions of care. -Fairy Tale Liberation Club FACT, 4 May, 12pm Fairy tale-inspired storytime where two stories, rewritten by women from the Merseyside Women’s Liberation Movement in 1972, will be acted out and read aloud. -Paper Sculpture – Introduction to Origami Make. Baltic, 4 May, 12-3pm Gillian from Millo Handmade leads this introduction to paper folding. -Introduction to Woodwork: Scrap Wood Challenge Make. North Docks, 4 May, 10:30-5pm In this class, you will be given creative freedom to build whatever you like from absolute scratch.

dot-art: Beginner Acrylic Painting Bluecoat, 7 May, 6:45pm Richard Meaghan leads this 10 week course. -dot-art: Digital Photography for Beginners Everyman Theatre, 8 May, 6:45pm Move from being a keen beginner to a competent intermediate photographer. -Once and Future Tales FACT, 8 May, 6pm A conversation and reading group with the women who rewrote the fairy tales for the future. -dot-art: Lino Cut for Beginners Everyman Theatre, 11 May, 11am-5pm Explore and investigate the creative and rewarding artistic skills of lino cutting. -dot-art: Creative Textile Art Bluecoat, 12 May, 11:30am-5pm Enjoy a one day creative workshop with Liverpool Artist Catherine Carmyllie (suitable for beginners).

--Curious Cross Stitch Make. North Docks, 4 May, 12-3pm When you think cross stitch, you tend to think of a generation before the internet. That’s not the case with Melody, founder of ‘A Curious Twist’. -Biomorphosis with Millie Layton The Royal Standard, 4 May, 2-5pm A fiendish workshop, in which we will carve and construct a new family of creatures, using traditional methods of clay sculpting and casting. -Art Club with Mimi Winsor The Royal Standard, 5 May, 2-5pm Art Club and artist Mimi Winsor join us to discuss the exhibition.

Bird box making workshop with Jennifer Collier Bluecoat Display Centre, 12 May, 11am4:30pm Create a beautiful bird box, complete with its own bird on perch, created from recycled papers, stitch and card. -LIGHTNIGHT: Workshops 17 May, 5-11pm All over the city centre. See the website for details of all LightNight 2019 workshops.

WOWFEST: I want you to know: A Writing Workshop for Refugees and People from Refugee Families Bluecoat, 23 May, 3:30pm This is a writing workshop for refugees to tell their stories. Many times, refugees are asked to talk about why they became refugees. We’ll be focusing on stories that you want to tell, whatever those stories might be.

dot-art: Introduction to Pastels Everyman Theatre, 18 May, 11-5pm Starting with pastels and using the work of Childe Hassam, you will recreate his famous works over this three day course. -dot-art: Essential Art History Bluecoat, 19 May, 11:30-5pm Delve into the world of art history with art historian Sara Riccardi (3 sessions)

Art Tuition / Art Courses The Old Police Station, Lark Lane Classes and Courses from Nicole Bartos -Art Classes Southport Studio Learn skills for paintings and drawing with Lisa Langan --

Ongoing workshops & classes (check www.artinliverpool. com for contact details)


-dot-art: Life Drawing Bluecoat, 7 May, 6:45pm Roy Munday leads a 10 week programme of evening lessons developing your skills in life drawing.

Curious Cross Stitch Make. North Docks

Grafitti Art Class (Saturdays) Zap Grafitti, Saturdays, 2-4pm Work as a team to learn the basic skills & techniques of a professional graffiti artist. -New Drawing Workshops Man in the Moon Man in the Moon now delivers half day, full day and weekend workshops for students to get stuck into making their own art.

Do Something Saturdays FACT, Saturdays, 12-4pm Discover a different way of experiencing exhibitions at FACT (suitable for children 6+). -Art Play for Under Fives Lady Lever Art Gallery, Mondays, 1011:30am Bring along the little ones for creative play activities, including puppets, costumes, toys, storytelling and nursery rhymes with our Education team. .


For more details on all opportunities, including links on how to apply, head to To send us details on jobs or opportunities for artists, email

CALLS OUTPUT gallery – Open call for local Arab artist, Liverpool Arab Arts Festival This year, Liverpool Arab Arts Festival (LAAF) and OUTPUT gallery are partnering to put on an exhibition by an Arab artist that is from or based in Merseyside. The artist will receive a payment of £300, with a further £200 to cover materials. DEADLINE: 26th May 2019

Board Member/Trustee, New Light (North of England) Established in 2010, New Light is a charity that celebrates and promotes Northern art, supporting both well-known and emerging artists by offering some of the region’s best awards and opportunities with the biennial New Light Prize Exhibition. DEADLINE: 30th June 2019



Liverpool Art Fair 2019 – Call for Artist Submissions We are bringing Liverpool Art Fair into the heart of the city centre thanks to our new partnership with Liverpool’s most stylish designer shopping mall, Metquarter. DEADLINE: 19th May 2019

OPEN CALL: New Digital Artwork Commission – Homotopia We are looking for an established digital artist or artists collective to create and deliver a new project as part of Homotopia Festival 2019. DEADLINE: 1st May 2019

-Great North Art Show 2019 – Call for Artists Painters, printmakers, illustrators, textile artists, photographers and sculptors are invited to submit six artworks to be shown as a body of work. DEADLINE: 16th June 2019

-New Mills Festival Launches Call For Visual Arts 2019 Submissions are now open to artists wishing to take part in the two-week long trail and weekend finale. DEADLINE: 5th May 2019 --

-Loom Magazine: Call for submissions CIT invites text & art submissions from collaborations between writers & artists for publication in Loom Magazine, our limited edition publication celebrating new creative works. DEADLINE: 13th May 2019

Sculpture Production Award 2019 – Pangaea Sculptors’ Centre Open to emerging artists working in 3D, based within the UK but outside of London, the Award will provide six sculptors with skills mentoring and a £1,000 production grant towards the realisation of a new work. DEADLINE: 10th May 2019

--New Mills Festival – Art Trail 2019 The Art Trail forms part of the New Mills Festival which takes place across New Mills, Derbyshire from the 13th to the 29th September 2019. DEADLINE: 5th May 2019 --

The Westmorland Landscape Prize – open for entries The Westmorland Landscape Prize is a national call to artists who are inspired by our landscape. Conceived and developed by Westmorland, the Prize aims to document, celebrate and interrogate our relationship with the landscape. DEADLINE: 17th June 2019 --

The John Ruskin Prize 2019 A shortlist of 25 artists, designers and makers will have their selected works exhibited at The Holden Gallery, Manchester in a high profile exhibition from 12 July – 24 August 2019. DEADLINE: 12th May 2019 -Sunny Art Prize – Open Call for Artists The art competition welcomes submissions from all over the world. The diversity of the prize is also reflected by the variety of art practices it represents. DEADLINE: 30th June 2019 -Call for Artists – Wirral Society of Arts 9th Open Exhibition 2019 Wirral Society of Arts biennial exhibition is open to all artists – local, national and international – at all stages in their careers. DEADLINE: 1st July 2019 .

JOBS Programme Manager, Floral Pavilion Theatre and Conference Centre Covering maternity absence for a 12 month period, we are looking for an experienced receiving house theatre programmer who has the ability to construct a diverse programme of events. DEADLINE: 5th May 2019 -Head of Production, Contact Theatre As a member of the Senior Management Team, you will lead the Production department, ensuring high technical standards for both artistic productions and commercial events. DEADLINE: 7th May 2019 -Director, The Dukes The Dukes Theatre has a clear mission “to create and present great art which changes people’s lives for the better”. DEADLINE: 7th May 2019

Creative Learning Manager, The Dukes The Dukes produces and presents theatre, is an independent cinema and offers creative learning activities. DEADLINE: 7th May 2019 -Event Manager (Festival), Lake District Summer Music As one of two Event Managers, you will work as part of the LDSM Festival Team, which consists of a Production Manager, a Venues and Tech Manager, two Artist Managers, and two Event Assistants. DEADLINE: 31st May 2019

Artist Liaison, Front of House and Technical roles, Manchester International Festival Individuals who have experience of assisting productions, artists and creative teams across a variety of art forms including music, theatre, visual arts and events. DEADLINE: 19th May 2019 .

-Artist Manager (Festival), Lake District Summer Music As one of two Artist Managers, you will work as part of the LDSM Festival Team, which consists of a Production Manager, a Venues and Tech Manager, two Event Managers and two Event Assistants. DEADLINE: 31st May 2019

--Sales Assistants – Liverpool Art Fair We are looking for three outgoing, enthusiastic and committed people, looking to develop a career in the arts, to join our team as Sales Assistants. DEADLINE: 16th May 2019

Event Assistant (Festival), Lake District Summer Music This position is voluntary, and is ideal for those wishing to develop their experience working hands-on in the arts sector. DEADLINE: 31st May 2019


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