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Issue #20 - November 2019 News, Reviews & What’s On. Your monthly update on visual art in the Liverpool City Region

Cover image: Rebecca Allen, The Observer, 1999-2019. Image courtesy of the artist (part of You Feel Me_ at FACT)


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

Art in Liverpool, issue #20, November 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: info@artinliverpool.com 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: patrick@artinliverpool.com GLOOP, credit-Manuel-Vason (part of Homotopia 2019, from 1st - 10th November)

Editorial:

issue #20, November 2019 Editor: Patrick Kirk-Smith Contributors: Lorraine Bacchus, Carol Emmas, Col O’Kell, Laura Brown, Michelle Pratt Advertising, sponsorship, distribution, stocking & event enquiries should be sent to info@artinliverpool.com Art in Liverpool C.I.C. Company No. 10871320

If you spent the final weeks of October cooped up, avoiding the changing clocks, and the first frosts, November’s exhibitions are something to bounce back with. Bluecoat, FACT, Open Eye, Lady Lever Gallery, the Walker, The Royal Standard, The Gallery Liverpool and International Slavery Museum are all hosting new exhibitions to carry us through winter with plenty to see. There are two previews in this issue, of Alexis Teplin at Bluecoat, and FACT’s you feel me_, with details of Homotopia’s programme alongside announcements for winter events around the region. Homotopia have gone big this year, with ten full days from the 1st-10th November of cross-disciplinary art forms taking over venues around Liverpool celebrating

LGBTQ+ culture in the 50 years since the Stonewall Riots (find the full programme at www.homotopia.net). This year’s title, Resit, Resit! hints at the flavour of the festival; not just a celebration, but a statement, and a clarification of Homotopia as an active voice in LGBTQ+ rights. FACT’s you feel me_, on the other hand, is a much more muted space, described as a sanctuary for healing. The technology which pours out of every crevice of the exhibition is aimed at ensuring people can engage with the focus on power in a comfortable way. It’s ambitious if nothing else, but for me it seems like it’s going to be a deeply cathartic exhibition, and one of the most thorough explorations of the subject of power in modern life through art. Catharsis in this sense through the

opportunity to listen to the perspectives of others in your position. And Alexis Teplin’s largest UK solo show to date which takes over Bluecoat provides something altogether different, again, in an exhibition where performance and traditional materials are important as each other. Lorraine Bacchus tours the exhibition in the next few pages, with the artist, to discover more about the show, but I’m leaving it until I’ve got some serious time to spend with the work. It’s an exhibition that from everything I can gather, holds a microscope over art itself. I can’t go over everything that’s on this month, but it’s safe to say we’ll not be struggling to fill the pages of our December issue.


In conversation with Alexis Teplin at Bluecoat

The fragmented, colourful and playful nature of Alexis Teplin’s exhibition at the Bluecoat is reminiscent of a kaleidoscope, where the components shift with each turn and yet they continue to be interconnected. The paintings, the costumes, the performances, the films, the ceramics, the glass, the steel furniture – all the elements have their own integrity, yet instead of being isolated in the gallery setting, Teplin has created a narrative that stitches them together, sometimes literally, always visually. She has expanded the medium of painting in all directions. The experience of being in this exhibition echoes life itself in that our days are a coalescing of fragmented moments, of sometimes fleeting contact with other people. There is no stasis. As the late John Berger recognised: “The relation between what we see and what we know is never settled”.

This idea of there being no resolution is among the topics explored in one of Teplin’s first film works, “Lives of Women”, made specifically for the Bluecoat: “It’s about relationships, how to deal with today’s malaise, excesses and uncertainty, to be active not passive, to understand that ultimately there are no answers”. The film is a patchwork of texts, mostly her own but also historical, including extracts from such sources as Iris Murdoch’s passionate letters in the 1940’s to her mentor, the French author Raymond Queneau, as well as lines from Ken Russell’s The Debussy Film. Teplin takes text apart, moves it around, puts it together in a new narrative, in the same way she does with the fabric for her paintings. She describes how “it is a visual process” for her as well as an aural one, that “all the most poetic things in the text are (from) me”. At one point, one of the actors in the film talks of “a pilgrimage of nuns and a priest

hopping across a stream, in a procession of need, desire and dancing skirts”. Teplin explains that this evocative image came from her husband, Noah Sherwood – a scene from Ireland. Sherwood and Teplin also collaborate in their art practices. Here he has made all the steel frames and furniture, the form of which put one in mind of Mondrian’s grid paintings. Meanwhile, the design of the woman’s dress in the film is inspired by one Teplin’s grandmother wore in the 1950’s. There is the sense that Teplin’s entire life experience is continually firing off synapse connections that she can transform into artworks. It all began with painting and this is still the bedrock of her practice: “It always starts with painting, with colour. Matisse was a huge influence in this and in his love of fabrics, in particular of linen”. She turns to one of her large paintings made up of blocks of colour on fragments of un-primed canvas and other found, decorative textiles. One piece contains

an embroiderer’s drawing, which, for whatever reason, remained unsewn. Teplin ponders the woman’s story: “This 18th century woman’s history, even though it is unknown, is now part of another history”. There are gaps in these fabric paintings, as if to reflect that one never knows the full story of anything. They also provide windows through to other exhibits so the viewer is always linked to the rest of the work. Even the way Teplin collaborates with other artists and technicians is a form of stitching together – of her vision and their skills. But whether she is working with a glassblower, a pattern cutter, or a ceramicist, it is only Teplin who paints: “My hand is always the painting hand. And the medium is always pure pigment. All pigments are vehicles for light. Light bounces through the colours”. In the upstairs gallery there is a large mural of such pigments. It is her first such wall work and also for the first time


she has produced a film documenting its coming into being. It is a rare occurrence for an artist to be filmed painting and the near absence of sound gives it a meditative quality, as she and her collaborator, Kitty Beamish, go about their task. The two are wearing hand-painted costumes, as are the actors who move through the galleries in the same fabric and colours as the canvases on the walls and speaking the same text as in the films. Teplin’s idea is that the actors are not performing for the audience but for audience engagement. Here she references the late Gertrude Stein, who used landscape painting as her model for playwriting so that the focus is on the spectacle not on the plot. The viewers enter the actors’ space and so involuntarily, sometimes unwittingly, become part of the scene. On the opening night, Teplin was thrilled to see this in action as people trailed after the actors in a kind of quiet, curious human wave of colour: “I love it”, she says, “the participation is just what I’d hoped for”. The performances last 15 minutes and only happen once a month. The rest of the time their costumes and props will create a series of tableaux in the galleries. To date this is Teplin’s most extensive exhibition, with the Bluecoat giving her free rein over its galleries. It is the first opportunity she has had to show all aspects of her multifaceted practice and here she has the space to do so, with ample light and air around each element. She has taken on the challenge of the architecture and produced an exhibition that can be experienced on many levels – the vibrant colours alone are a visual delight but it is also thought provoking, not

least in the way Teplin extends the notion of what painting can be.

16 November 2019, 7 December 2019, 22 February 2020.

Alexis Teplin in Conversation with Hettie Judah, 18.30, 20 November 2019, Tickets £5/£4

Alexis Teplin – It’s My Pleasure to Participate, The Bluecoat, 26 October 2019-23 February 2020. Free Curator’s Exhibition Tour, 15.00, Saturday 16 November 2019 Free Alexis Teplin Performances, 14.00,

by Lorraine Bacchus images: courtesy of Bluecoat & Alexis Teplin


Review: LOOK Photo Biennial

images courtesy of Open Eye Gallery, Mandy Baker, 2019

In the 1960s, American writer and critic Clement Greenberg said, the photograph had to tell a story if it was to work as art. That story has been told in many varying ways since. In 2019, LOOK Photo Biennial tells the story of how photography can create a sense of global belonging by transcending borders, languages and cultures in an era where many countries are reinforcing their borders and turning increasingly inwards. Taking place across Liverpool, Wirral, Preston and eventually Shanghai, part two of this exhibition, Translate and Transition (part-one was Transplant) continues to explore Open Eye Gallery’s international exchange relationship with China. The aim is to use photography as a medium of conversation that reflects on shifting national identities, global environmental issues and how outwardly we can communicate effectively. The core exhibition, Peer to Peer is a group show of 14 artists, selected by 14 curators from across the UK and China and is held at the vaulted basement of St. George’s Hall and Open Eye Gallery. At St. George’s Hall not only is the work impressive, the space is too. Artists here include Mandy Barker whose significant body of work, Soup tackles the accumulation of plastics in earth’s oceans. Barker meticulously collects plastic objects from beaches around the world and presents them as constellations exposing the growing

threat to marine and terrestrial life. Jiang Pengyi’s whose cameraless work In Some Time, are vaguely reminiscent of Wolfgang Tillmans’ large abstract pieces are delicate, sensitively and beautifully executed. As are Qin Yifeng’s subtle images that most recently showed at White Cube, Hong Kong and capture objects through a process of long exposure, to present them in an etherial negative form. To anyone not familiar with St.George’s Hall and also to those who are (and who might get lost wandering around a large number of doors to the building) the entrance is at traffic-level and opposite St John’s Market. Another award-winning photographic artist taking part who is worthy of mention is Yan Wang Preston. Her thought-provoking exhibition Forest at Birkenhead Priory formed the first part of LOOK (Transplant ) earlier this year highlighted the politics of recreating forests and the ‘natural’ environment in new Chinese cities. However, to do this hundreds and thousands of mature and sometimes ancient trees are purchased and transplanted into the city to make ‘readymade’ forests. Often the trees become trophies, decorations and a commodity to raise property prices with. Yet sadly, they often also die as a result of being uprooted from their natural environments. In parttwo of LOOK, Yan Wang Preston is both at Open Eye and also has a further outdoor exhibition at Constance Street & Kempston Street, near The Tapestry. He charts the new

ways that we are identifying and understanding gender today. Open Eye also includes Anna Ridler who presents a mesmerising piece of work called Mosaic Virus and Tulips. As a loose explanation, the work draws historical parallels from the ‘tulip-mania’ that swept across Netherlands/Europe in the 1630s in comparative terms to the speculation currently ongoing around cryptocurrencies. Whilst upstairs, Orlando by Alix Marie explores photography and sculpture by representing intimacy through the portrayal of body parts. The photographs have been dipped in wax, crinkled, scanned and reprinted. The aim is to reveal, “those moments where the other’s body is blown up through proximity and every detail of the skin and body unravels.” This is only a small snapshot of the work on show across Liverpool, Birkenhead and Preston across a variety of different galleries and spaces. There is much to see and the ‘much’ is highly worthwhile. LOOK Photo Biennial 2019 is a fabulous and growing advertisement for the medium of photography as art and storytelling, through both straight photography and also through mixed-media. If you can’t see all the exhibitions in one day, then plan to in chunks – a few of the exhibitions are on until 22nd December.


Review: Drawing on Nature – Taki Katei’s Japan

images courtesy of Open Eye Gallery, Yan Wang Preston, 2019

You’ll draw plenty of pleasure from this excellent exhibition of illustrations by Japan’s rediscovered master. If you’ve ever been the subject of a portrait at the hand of a little-one in your life, you’ll be familiar with the seemingly universal compulsion within the young to draw pictures. Indeed I have been the subject of such a ‘flattering’ portrait myself, created by my loveably exuberant five year old nephew Felix. The masterpiece, created in a frenzy of observational glances shot through his golden curls, now proudly sits on my fridge, alongside ironic magnets of Cezannes and Van Eyks. Seemingly this drive to recreate our observations of the world via the simplest of media is an innate human quality and it means that many of us have an understanding of drawing far beyond that of other art forms. It is with this context that many of us will approach the new exhibition of nature inspired drawings by Taki Katei and his pupils at the World Museum – context which amplifies the impact of the charming works on show.

images courtesy of Open Eye Gallery, Jiang Pengyi, 2019

-LOOK Photo Biennial: 17 October – 22 December Open Eye Gallery & various venues, Liverpool, UK Words, Carol Emmas Images, courtesy of Open Eye Gallery

The exhibition features eighty drawings from the museum’s collection that were originally created for a range of purposes, including for use as educational tools and as preparatory sketches for finished works. The drawings are an exquisite triumph of content, composition and technique. Many of the works feature cropped, diagonal compositions of fleeting moments from nature, packed with allegorical meaning and are executed with a precise simplicity that allows easy connection with the subject and artist. As the exhibition continues the work is engagingly analysed from every angle, providing a detailed biography of the artist and his travels; a timeline of the provenance of the drawings and a video projection on calligraphy techniques. All of this augments the well displayed drawings complete with concise and insightful commentary, which are split into five logically themed sections. Indeed there is something for everyone here, with

the artistic analysis sitting comfortably alongside areas where young and old artists alike can practice some of Katei’s techniques for themselves. The use of the drawings as preparatory sketches is highlighted most notably in the work “Chinese Scholar Gentlemen” (above) – a delicate depiction of a snippet of conversation, whose diagonal composition adds to the sense of immediacy. The work has been extrapolated into a feature display which explains how the annotations relate to colours and techniques to be used in the finished work. A theme within the exhibition is the fascinating phenomenon of changing fashion within art history. Awarded the title of Imperial Household artist, Taki Katei was venerated both domestically and internationally during his lifetime and after a period of reduced popularity his work is now being re-discovered and favourably re-evaluated. The penultimate section of the exhibition focuses on the hidden meanings within many of Katei’s works and articulates a common thread for the veneration of Chinese culture. A highlight here is the piece Waves of the First Rank which captures a scene of two cranes – one which towers majestically over the other, contorted in a moment of preening. The cropped composition and the vibrant strokes of the water project you into the heart of the dynamic scene, whose allegorical meaning, based on Chinese myth and word play, relates to the success of a young member of an oriental court. World Museum have taken a collection of delightful works from their own archive and spun them into a riveting, engaging, accessible spectacle – which capitalises on the current widespread interest in Japanese culture. Certainly it will satisfy the infant illustrator in all of us – I think Felix is going to love it! -4 October 2019 – 13 April 2020 Words, Col O’Kell


Preview: You Feel Me_ at FACT an exhibition of mysticism & healing

Rebecca Allen, The Observer, 1999-2019. Image courtesy of the artist

New exhibition at FACT invites you to feel the future and imagine a world without division Opening at FACT on 1 November, you feel me_ invites visitors to an alternative world: a mystical space free from division and bias and a sanctuary for healing. From 360° virtual reality experiences to a neon-lit restaurant orbiting in space, the exhibition brings together multisensory artworks which disrupt systems of power. We experience power every day. It rules our actions, opinions and responses to the world through systems like education, politics and technology. But who holds this power and who really benefits from it? you feel me_ seeks to challenge the systems we live with, and asks how we can work together to repair, rebuild and restore justice to groups affected by bias. The exhibition aims to allow for other voices to break down the old, and create new, ultimately different worlds. Presented by FACT Curator-in-Residence Helen Starr, you feel me_ will transform FACT’s galleries into alternative worlds. Interactive artworks will suspend in air, float in a hazy mist and explode onto walls. The immersive exhibition includes artworks across disciplines including ceramics, virtual reality, artificial intelligence, video and game design. Exhibiting artists are

Rebecca Allen, Megan Broadmeadow, Anna Bunting-Branch, Phoebe CollingsJames, Brandon Covington Sam-Sumana, Aliyah Hussain and Salma Noor. you feel me_ has been developed by Helen Starr, Curator-in-Residence at FACT - an opportunity made possible with support from Art Fund. Helen said: “It has been a privilege to be a resident here, in multicultural Liverpool - I am much changed from the experience. The team at FACT have taken a group of interwoven ideas and developed them into a beautifully ordered exhibition. The exhibition is dedicated to my Mother; a Carib woman, for teaching me to trust my feelings, tropical rainforests and turquoise seas.” Nicola Triscott, Director/CEO at FACT, said: “Curator Helen Starr has brought together an extraordinary group of artists to explore how prejudice is perpetuated in the systems that underpin society. The exhibition features an array of dazzling artworks, which suggest connections between societally engrained systems of power and the built-in biases of video games, artificial life and VR, and consider how we might move towards a place of healing.” you feel me_ will comprise of a number of new commissions and existing artworks.

Brandon Covington Sam-Sumana

These include Warm Worlds and Otherwise (2018) by Anna Bunting-Branch, which engages painting, digital animation and virtual reality to explore ideas of worldbuilding. Central to the project is META. This experimental animation uses digital technology to transport viewers between environments including unknown planets and a restaurant orbiting in space, transforming hand-painted characters, props and backdrops into an immersive virtual storyworld. Amongst other works, Phoebe CollingsJames will exhibit okokok (2013-2019); a collection of plaster sculptures which evoke the image of hoods, at the same time spectre and mask. The title suggests the exhaustion of a community and the battle against a colonial project that exists - although in a relatively fragile ruin - with a power that is ever raging. Why can’t we do this IRL? (2019) by Megan Broadmeadow is a virtual reality experience created in collaboration with an intergenerational group of participants,

who will be working on the project up until December. Based on video game Red Dead Redemption 2, the artwork will challenge a viral video from the game in which a player uses his in-game avatar to kill a suffragette. Blending the boundaries between the game world and the ‘real’ world, the work exists as an act of justice. The video game character is placed on trial to be judged ‘in real life’, with the ‘verdict’ set for December when the artwork will be installed in FACT’s galleries in its final form. Throughout the exhibition’s run, visitors are invited to dive deeper into the alternative worlds of you feel me_ in FACT’s series of exhibition related events. Highlights include a cult film season featuring classics Barbarella and Belladonna of Sadness, an artist-led tour with ROOT-ed Zine and a series of video game-based adventures through our galleries with performer and gamer Conway McDermott. -Opens 1st November


1 NOV 2019 - 23 FEB 2020 FREE ENTRY

you feel me_

REBECCA ALLEN MEGAN BROADMEADOW ANNA BUNTING-BRANCH PHOEBE COLLINGS-JAMES BRANDON COVINGTON SAM-SUMANA ALIYAH HUSSAIN SALMA NOOR

FACT / 88 WOOD STREET / L1 4DQ fact.co.uk Image: Anna Bunting-Branch, The Linguists, 2017. Image courtesy of the artist.


Review: Nothing Dead Here – Dead Pigeon Gallery at 189 Oakfield Road How do you deal with it when something bad happens where you live? Pulling down houses bad. Communities dispersed bad. Fear and anger bad. It’s trauma, a mass, collective trauma. In your most powerful frame of mind, you hope (pray?) you would go through the disbelief, the rage, the terror and then want to make something good, make something for yourself, not imposed from the top. Clawing, with your own bare fingers if you need to, to bring a little light into the darkness. Oakfield Road is under the shadow of Anfield, in many more ways than simply the physical. Adorning the wall at the back room of 189 Oakfield Road is the timeline of how this area developed. Behind the makeshift bar, on the wall at the back of the house, alongside the kitchen, is the bit about “housing renewal”. “This is the bad bit”, one of the artists says. This is a beautiful row of houses. That strong, red brick, sturdy kind of Liverpool terrace this city does so well. They remind me of our dads, in a way. Big fellas. Fellas who’ll stand over you and protect you. Immoveable fellas, who only shift when something much bigger they can’t control gets in their way. You sign a disclaimer (this is, after all, a derelict building), step over the metal frame of the doorway and come inside. Feeling the walls with fingertips I kept thinking of the Lemn Sissay poem “How do you do it? Said Night, “How do you wake and shine?” “I keep it simple”, said Light “One day at a time”. That day turned into weeks, months and years, but this house, this exhibition, is a monument, a celebration of living in the present, of holding up one’s hands to the past and saying “enough”. Of knowing much more is to come but of taking stock, pausing, breathing. The art is beautiful. There are 24 artists on show here, as large a group show as you’d see in any other gallery in the city. The timeline is in the backroom (it’s hard not to describe the rooms as you would if you were seeing the house as a potential buyer) and then in the front room there are missives and memories from the community. Cows coming down the street, characters from the neighbourhood. Jayne Lawless and Janet Brandon’s video piece in another bedroom charts the demolition of houses – in one moment the camera zooms in just over the arm of a digger to show in sharp focus the wallpaper that remains on a now exposed wall. The tiles of what was someone’s kitchen. The wallpaper, probably chosen with laughter, pasted onto the wall as a family made their house a home, now exposed in the cold blue light at Anfield. It’s in this room that there’s the most powerful pieces of work. It’s Lovely Mr Macintosh, as Jayne Lawless (artist and Dead Pigeon Gallery co-founder and curator) says an “imaginary imaginary” friend created by her and her brothers. The layers of these family homes, whose walls have seen tears, joys, births, deaths, drunken parties, birthdays, Christmases, rainy Tuesdays and lazy Sundays. The mural of Mr Mackintosh reminds us that these walls are keepsakes, they hold our memories like a safe.

Because the real showstopper here is the house. This is one of the houses soon to be renovated by the Homebaked Community Land Trust. Every artist here has been connected with Homebaked in some way. It is, as they say “more than a pie”, it’s the foundation of a fresh perspective of a community.

There are jagged gaps where our support services used to be, bits of support that helped people wrenched out leaving sores. What’s left? People, that’s what. People living, waking up, washing their face and stretching, living their lives, having a laugh. Making things, breaking things. Creating.

Walking through this house, teetering on destruction, like a patient who survived the bad night, it gives you the same feeling you get when you walk through someone’s home, especially when it’s an old house. These Victorian terraces are living social history. We’re only custodians of houses after all. All we’re meant to do, really, is make sure they last.

If art truly is a mirror, if it is the beating pulse then this house in Anfield isn’t its heart it’s its brain. It’s sending messages to make dulled limbs twitch and spark into movement and action. It’s telling you to think, to shift, to act.

On the launch night the front room is full of people and music. A little Silent Sheep (welcome back, lads) and you’re sent off into the night, waved off from the doorway like you’ve just spent the evening with your mates celebrating their new home. There’s a sense of triumph. This is what we’ve missed. We’re in a period of tumult, and some of us have been in it for longer than others. Our society, someone said, has been turned upside down. And it has.

There’s only one question left. What’s next? -Review: Dead Pigeon Gallery, 189 Oakfield Road by appointment until December Words, Laura Brown


Mellowtone at 15

Mellowtone have been such a consistent voice here, that it’s hard to imagine a time without them. But fifteen years ago they didn’t exist, so this month they’re celebrating with an exhibition of fifteen posters, by fifteen artists, in editions of fifteen, for £15 (in case you hadn’t realised they were fifteen).

What’s special about Mellowtone, for me at least, is that they’re a music producer that actually cares about the artists they work with. I’m such a scrooge when it comes to music, grumbling when musicians are

called artists, so to watch local artists and illustrators build their careers alongside Mellowtone has been wonderful. So to celebrate their anniversary ahead of the exhibition, opening 7th November at Buyers Club, I asked Dave McTague, who’s been there since day dot, to spread a little extra love to some of the artists who’ve stuck out to me, and respond to some of the most memorable covers and posters that have graced the city’s hoardings over the years.

...

Spread Love must have been pretty early for Mellowtone? What was the project behind the poster? Dave: This one was a collaboration between Paul Donnelly - who was our longest serving (and suffering!) designer - and myself. It’s from back in 2012… We used lots of images from old Mellowtone flyers as well as some new bits, and as you’ll probably have gathered - it’s more than a little homage to Peter Blake and his collage style. It looks easier to do than the reality - I think it was draft 7 or 8 by the time we were both happy with it. It was also a chance for us to try and spread some good vibes around the city and beyond. We’ve done a few editions of this poster over the years now, and have a new one at the moment, so I guess there are a good few hundred of these knocking about now. Hopefully with their message they can subtly help bring some positivity and goodness to the world, especially in these divisive times.

Eimear Kavanagh’s another artist who seems to be everywhere in this city, with exhibitions and workshops popping up constantly. I didn’t know she’d been working with Mellowtone, or this side of her work. When you’re working with artists, who are more artists than designers, or illustrators, do you find there’s more of a challenge? Dave: Yeah, she’s certainly busy! I met her through Threshold Festival originally, when she was exhibiting work there a few years back, and a very different style to this. Our paths crossed more recently through some of the Violette nights, and the Micheal Head dates where Nick Ellis was supporting. I loved her style and thought it would work well for Mellowtone. We always like to reference nature, the changing of the seasons, and celestial bodies now and again… and I love looking at the moon! In terms of working with artists rather than illustrators or designers, in some situations, yes I agree … but for Mellowtone it hasn’t been a problem so far. (Fingers crossed touch wood and all that). We try and work with people whose style would fit with ours, and then we supply a pretty loose brief. We’re trying to represent the artist and showcase their work as well as promote our own, so we try to allow as much freedom as possible.

The project I remember best from Toucan Tango (above) was their poster drop a few years back – they hid posters around Liverpool raising money for The Whitechapel Centre. Mellowtone has been right along side them while they grew. What’s it meant to see artists build themselves up from the work they’ve done with you? Dave: I met Scott through the Capstans Bazaar markets originally, if I remember rightly, and loved the Toucan Tango style, and recognised lots of the posters they’d done for lots of music acts and gigs around town. And of course, I thought their ethos was great too. I wouldn’t claim to have helped them too much though - they were pretty established when we started working with them! It’s been a real joy to see how artists careers have developed… one that springs to mind is Laura Kate Draws. I’m pretty sure that the typography she did for us many moons ago was the first illustration work she did when finishing university, and know that it led on to a few other commissions. Since then, Laura has quote done a few bits for us - including the wonderful new commission for Mellowtone 15!


Thomas James Butler’s been one of your front running artists over the last few years, with exhibitions at Buyer’s Club linked to Mellowtone, the Comedy Festival, and a distinctive collage style that just sort of works. What’s it like asking artists to respond to something like this though? Long running programmes cover so many musicians, and surely there’s a danger of representing just one portion of the line-up? Dave: Thomas James Butler is looked after by RedHouse Originals - a gallery run by my cousin, and who’s also involved with the label - so we often collaborate. Yeah, that’s a really good point … but Tom is a huge music fan, and he’s been to many of our shows over the years so I guess he just “got it”. We’re a night and a label for songwriters at heart, and this image just seemed to work. I shouldn’t really have favourites, but if I’m being honest, this is one of mine !

This one (from Sketchstance) was from when you had control of Sefton Park Bandstand for LIMF right? How many years did that last? Dave: Ah the bandstand… yes that’s right! I really like this design from Sketchstance, I’d seen all his work for Bold Street Coffee and all the skate stuff for Mersey Grit, and thought this style would work well for the Bandstand shows. We were so fortunate to look after that stage at LIMF for five years, from 2013 - 2017. It was our “Mellowtone Summer Holiday” - the time of the year our full crew and all the acts from the label got together and hung out. Once LIMF started charging for the festival and their site layout changed, this stage was dropped, and we were understandably gutted. I certainly miss that bandstand magic, right in the very centre of Sefton Park.

-Exhibition opens 7th November at Buyer’s Club Gallery Free entry, with limited edition prints from £15 Find out more at mellowtonerecords. com


NEWS

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The Winter Arts Market returns to Liverpool Cathedral on 7 Dec 2019 Over 200 contemporary artists, designers & makers selling work at Liverpool Cathedral – – – – –

Stalls from 200 artists, designers and makers Vintage and Food fairs Kids Craft Lab Cathedral Café Music

The Open Culture Winter Arts Market returns on Saturday 7 December, offering shoppers the chance to buy thousands of handmade artworks, crafts and design gifts in the lead up to Christmas. Over 200 independent artists, designers and makers will transform Liverpool Cathedral into the region’s biggest arts market displaying thousands of colourful creations alongside an artisan food fair and vintage and clothing fair. Festive shoppers are invited to support local artists and makers and find perfect gifts for friends and family from creatives and makers from across Merseyside who

will be selling a huge variety of handmade work. Just some of the thousands of items on offer include original screen prints, paintings, intricate jewellery, tableware, beauty products, woodwork, colourful decorations, accessories, textiles, photography, knitwear, hand poured candles plus food gifts, clothing and vintage at prices for all pockets.

such an iconic venue. Each year thousands of people come to purchase original works and soak up the festive atmosphere, and this year will be no different. Expect stalls from emerging artists alongside seasoned favourites, and always beautiful, affordable and high-quality creations” — Charlotte Corrie, Open Culture Director (organiser)

Downstairs in the cathedral’s Concert Room, a pop-up vintage and clothing fair will offer a range of vintage clothing, jewellery, handbags, homewares and vinyl alongside work from independent clothing designers.

A closer look at just a few of the stallholders this year:

Along the corridor in the dedicated food fair, local artisan food producers are on hand with delicious food and drink including chocolate, liqueurs, tea, jams, cake and much more.

Children’s author-illustrator Maxine Lee Mackie makes zines, graphic novels, stickers, prints and other lovely things. She’s influenced by everything she sees, reads, watches, listens to…everyone and everything around her. Drawn to the more mischievous side of life, she’s worked with major clients including Disney, Macmillan and Simon & Schuster.

“The event is the biggest celebration of independent artists and makers in the region, and we are thrilled to present the work of over 200 homegrown creatives in

Crosby-based photographer Dominic Darvell is a long-time attendee of the Summer and Winter Arts Markets but this will be his first time as an exhibitor. He

travels all over the UK taking stunning landscape photographs with a focus on original prints of the Sefton coastline. Megan Bretherton, aka Bodhi Silver, is a silversmith based in Liverpool. ‘Bodhi’ means ‘to enlighten’, and Megan’s work is certainly intended to bring light to the wearer. It’s her first time at the Winter Arts Market, so be sure to pay a visit to her stall of unique, consciously crafted jewellery. In the Food Fair, local craft distillery Turncoat make their Winter Arts Market debut. Their gin, vodka and bitters are all made in-house, by hand and in small batches using traditional processes. The perfect Christmas gift for a connoisseur! wish us luck! -Winter Arts Market 2019 Saturday 7 December 10am – 7pm Liverpool Cathedral Entry £3 (children under 16s free) #WAM19


Henri Matisse, L’Escargot (The Snail), 1952-53. Lithographic reproduction (1958), 46.7 x 57.7cm. Š Succession H. Matisse/ DACS 2019

Matisse Drawing with Scissors 25 October 2019 to 15 March 2020 liverpoolmuseums.org.uk/matisse

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NEWS

Homotopia – the power of protest

winning Edinburgh run of their show, Burgerz, Travis returns to Liverpool to talk queer identity, trans rights and black voices. At Liverpool’s waterfront, they create a pop up response to the city’s International Slavery Museum. Following this there will be a panel discussing Art at the intersections at the Museum of Liverpool. Travis Alabanza and Friends (at Blackburne House) will be a cabaret evening of queer performance. “Why is protest important? Art as activist and protest and change is important as I believe it creates the possibility for an accessibility theory and books dont always give. Onstage and in performance we have 10 minutes, 30 mins, an hour to change someone. That challenge and potential excites me.”

1-10 November 2019 Various Venues, Liverpool Homotopia returns next month, with a festival theme of Resist! Resist! In the 50 years since the Stonewall riots, some feel the fight is won, yet for many within the LGBTQ+ community, protest remains a vital tool to challenge bigotry and intolerance. A selection of the artists from the

UK’s longest running LGBTQ+ arts festival, which includes Travis Alabanza, Fantabulosa, Rachael Young, Oozing Gloop, Amy Lamé, Harry Clayton-Wright, Split Britches and more, reflect on the role of artists in resistance, why protest remains important and how it feeds into their work and performance. Travis Alabanza is Homotopia’s 2019 artist in residence. After a sellout, award-

Open Air Gallery guide launched to showcase New Brighton street art.

In addition to the artworks, the company has also bought up empty and derelict buildings and are repurposing them, first launching fashion and accessories store Rockpoint Apparel in December 2018, followed by Middle-Eastern inspired bar Habibi and The James Atherton, a modern tavern which was named after the original founder of the resort.

Over the past twelve months, New Brighton has seen a number of largescale murals appear on commercial and private premises within the town’s Victoria Quarter.

The most recent works to be unveiled are ‘I see the sea’ by Ben Eine, who’s distinctive typographic style which has been seminal in the rise of street art’s popularity, and Dotmasters’ humorous flock-wallpapered end terrace on Waterloo Road, featuring Otto, part of his series of ‘Rude Kids’ paintings.

Commissioned and funded by local regeneration company Rockpoint Leisure, there are now more than fifteen artworks, designed and painted by both local and International street artists. A new map to the artworks is now available for visitors to the neighbourhood, directing them on a route around the Quarter. The paintings, which include abstract and figurative content are part of Rockpoint’s regeneration scheme, which aims to breathe new life back into this area of the town, which has experienced a downturn over the past few decades.

Both artists have worked closely with Banksy, with Dotmasters featuring in ‘Cans Festival’ in 2008, whilst Eine’s partnership with Banksy was hugely influential to the commercial success of both artists, and in 2003 the pair set up the famous Pictures on Walls gallery. Copies of the New Brighton Street Art map are available from Rockpoint venues on Victoria Road, New Brighton, and can also be downloaded on Rockpoint’s official street art website www. newbrightonstreetart.com

Travis adds, “I think art, for me, when it is working well, is seeing people and bodies and histories retake a mic they’ve had taken from them. Retell their truths. Process out loud. Resist the urge to be simple.” Harry Clayton-Wright brings his play Sex Education to Unity Theatre. The winner of the LGBTQ Brighton Fringe Award candidly reflects on sex and his sexual past, sex education, gay porn and how to talk to your child about it.

Resistance is, he says, vital. The Gloop Show is by Oozing Gloop, creating a survival guide to the 21st century and charting a path through new politcal territories via a dreamlike, psychomagical trip. “Resistance has never been an option for me, as in my existence is steeped in it; as is everyone else’s. The difference is our cognition of it, clothes are a resistance, toilet paper a resistance, work a resistance. The main issue facing us today is the idea of the profit imperative to our systems of existence that people seem to think is fine when in reality; it is crushing us and our biosphere into something that we must resist, or cease to exist. People who’ve never had their gender the subject of law, their ethnicity evidence of their commodity, their sexuality raided by police or their spontaneous behaviour diagnosed and destroyed by medicine or therapy methods don’t always get this. Worse some people who have don’t. So shine a light into someone’s life today and resist the darkness that swells the systems uplifting Boris Johnson and Donald Trump to supreme political authority.” -For the full festival programme and for tickets go to https://www.homotopia.net/


Find the latest news & more on these articles at www.artinliverpool.com

National Museums Liverpool announce twelve months of exhibitions & permanent displays • A major retrospective, curated by her family, of Linda McCartney’s internationally-renowned photography • Humanity’s relationship with AI revealed, from its ancient origins to a beguiling future • Merseyside Maritime Museum opens Life on board, a new permanent gallery • National Museums Liverpool announced twelve months of outstanding exhibitions and new permanent displays for 2020 today. Laura Pye, Director of National Museums Liverpool, said: “From the photography of Linda McCartney, both iconic and intimate, to a glimpse into the fascinating potential AI has to shape our future; 2020 promises to be an amazing year for National Museums Liverpool, which we hope will challenge, inspire and delight our visitors. “And this year it’s not just about exhibitions. This spring we are also opening Life on board, a major new gallery at the Merseyside Maritime Museum, which explores more than three centuries of our city’s seafaring history. While at World Museum we’re looking forward to a series of interventions that brings fresh perspectives to the World Cultures gallery and addresses current debates. “With so much fantastic stuff in the pipeline this is your chance to get dates in the diary and start planning a brilliant 12 months of culture in Liverpool.”

Liverpool on wheels: from horses to horsepower Museum of Liverpool 14 February to 1 November 2020 Liverpool’s proud transport history is revealed through a fabulous array of vehicles built in and around Liverpool. German Revolution: Expressionist prints Lady Lever Art Gallery 10 April to 31 August 2020 Powerful prints by some of the most influential artists of the 20th century will arrive at the Lady Lever Art Gallery next year. Linda McCartney Retrospective Walker Art Gallery 25 April to 31 August 2020 In 2020, the Walker Art Gallery will host a major retrospective of Linda McCartney’s photography. From her iconic depictions of the music scene of the 1960s, to family life with Paul, Linda captured her whole world on film. AI: More than Human World Museum 10 July to 1 November 2020 The fascinating world of artificial intelligence comes to World Museum in a new exhibition bursting with interactivity through immersive artworks and scientific developments, giving visitors a thrilling vision of the future.

John Moores Painting Prize 2020 Walker Art Gallery 11 September 2020 to 14 February 2021 The John Moores Painting Prize returns with the very best of contemporary British painting. Respected by artists and renowned for spotting emerging talent, the competition attracts a hugely diverse range of work which may divide opinion but always reaffirms the power of paint to move and provoke. Sublime Symmetry: De Morgan ceramics Lady Lever Art Gallery 25 Sept 2020 – 17 Jan 2021 The magnificent ceramics of William De Morgan (1839 – 1917) are the focus of this glorious new exhibition which uncovers the pattern, shape and symmetry in De Morgan’s designs. -Find out more at https://www.liverpoolmuseums.org.uk/ events/


WHAT’S ON > CURRENT EXHIBITIONS Made on Merseyside Kirkby Gallery

Alexis Teplin Bluecoat

A Walk in Autumn Dot-art

Common Ground: Hunter River Editions Ltd,

Current Exhibitions Alexis Teplin Bluecoat, until 23rd Feb Bluecoat, Liverpool’s Centre for the Contemporary Arts, welcomes AmericanBritish artist Alexis Teplin to the gallery this autumn, with her largest UK solo show to date.

Common Ground: Hunter River Editions Ltd, until 17th Nov This project began with an investigation of reconsiderations of place through the practices of Greg Fuller, Jason Hicklin and Tracy Hill exploring how physical and cultural histories influence connection to landscape.

--Storylines Cass Art, until 1st Dec The artists have explored the importance of story as it weaves through the layers of society. The exhibition shows work developed from traditional tales, cultural motifs and Liverpool’s heritage.

Sophie Green – Eggshibition Egg Café, until 10th Nov Join Sophie for an evening at the Egg Cafe for a preview of her latest Eggshibition – and the great hits of (her) prints! --

-A Walk in Autumn Dot-art, until 23rd Nov To celebrate the change in seasons dotart Gallery presents A Walk in Autumn, a new exhibition depicting autumnal landscapes in places that are continents apart. --

You feel me_ FACT, until 23rd Feb you feel me_ invites visitors to an alternative world: a mystical space free from division and bias and a sanctuary for healing. --

We are Kirkby Kirkby Gallery, until 16th Nov We are Kirkby brings together two distinct collaborative projects by Tony Mallon and Jemma O’Brien. Working with the Northwood Golden Years Group and service users and staff from Kirkby Resource Centre, the works celebrate the current community and landscape of Kirkby town centre. -Made on Merseyside Kirkby Gallery, until 16th Nov This original new exhibition has been developed from Prescot Museum’s collection, with additions from the ARK at Knowsley Archives, National Museums Liverpool, and the personal collections of local individuals. -Now For The Future Open Eye Gallery, until 30th Nov Shutter Hub have teamed up with Liverpool’s Open Eye Gallery for a thought- provoking international photography exhibition exploring contemporary ideas of myths..

Keith Haring Tate Liverpool, until 10th Nov Tate Liverpool presents the first institutional, solo exhibition in the UK of American artist Keith Haring (1958–1990). -Sol Calero: El Autobús Tate Liverpool, until, 10th Nov Tate Liverpool presents a new commission by Berlin-based artist Sol Calero (born in Caracas, Venezuela, 1982). Calero’s work takes the form of brightly coloured, large-scale immersive installations that explore themes of representation -Nahem Shoa: Black Presence The Atkinson, until 23rd Nov Artist Nahem Shoa has curated a selection of his striking portrait paintings alongside key historic and contemporary paintings of black portrait sitters. --


Find FULL listings and events information at www.artinliverpool.com An English lady’s wardrobe Walker Art Gallery,

You feel me_ FACT

Now For The Future Open Eye Gallery

Studio Show The Royal Standard

Westwood The Atkinson, until 28th Mar -The Landing: Southport Palette Club 1st Invitation Exhibition The Atkinson, until 23rd Nov Artists from this years pallet club exhibition at the Sefton Open have been invited to submit a piece of work to be displayed on The Landing. -Studio Show The Royal Standard, until 3rd Nov Accommodating each artist’s unique working habits, The Royal Standard Studio Show will reflect the different voices, ideas and personalities of the studio, playing on threads of common interest. --

The Secret Art of Survival Victoria Gallery & Museum, until 20th June The result of over six years’ research to identify and locate previously unseen artworks created secretly and kept hidden by British servicemen during WWII Far East captivity. -An English lady’s wardrobe Walker Art Gallery, until 1st Mar The Walker Art Gallery will display more than 70 outfits in this new exhibition, which explores shopping and style in Liverpool during the interwar years. -LOOK Photo Biennial: Distinctly Williamson Art Gallery & Museum, until 24th Nov This show takes a unique approach to the depiction of Britain and its distinct landscapes, industries, social and economic changes, cultural traditions, traits and events

Women of Iron Williamson Art Gallery & Museum, until 24th Nov This project, commissioned during the Wirral’s Borough of Cultureprogramme, has captured the female workforce in Cammell Laird Shipyard during the summer of 2019. -Christian Furr: A Retrospective Williamson Art Gallery & Museum, until 24th Nov Furr’s successive works have adorned the walls of the Saatchi Gallery, National Portrait Gallery, Royal Society of Portrait Painters and the private collection at the Vatican. -Taki Katei, Japanese Drawings World Museum, until 13th Apr Taki Katei was once the highest-paid artist in Tokyo. He was a favourite of the Emperor of Japan, and his works travelled to international exhibitions around the world.

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WHAT’S ON > COMING SOON Bona Pop The Gallery Liverpool

JÓL Bluecoat Display Centre

Am I Not a Woman and a Sister? International Slavery Museum

dot-art: Lino Cut for Beginners Everyman Theatre

Exhibitions

Talks, Tours & Performance

Gordon Baldwin & Matthew Harris Bluecoat Display Centre, 2nd Nov – 23rd Nov Gordon Baldwin is one of the world’s most distinguished ceramic artists, Matthew Harris makes work that employs dying, cutting and hand stitching. --

Am I Not a Woman and a Sister? International Slavery Museum, 15th Nov – 15th Feb ‘Am I not a woman and a sister’ is a new moving image installation by Manchesterbased artist Elizabeth Kwant, co-created with female survivors of modern day slavery in partnership with Liverpool charity City Hearts.

WORKSHOP: dot-art: Lino Cut for Beginners Everyman Theatre, 2nd Nov Explore and investigate the creative and rewarding artistic skills of lino cutting with artist and experienced teacher Catherine Carmyllie. Suitable for beginners.

WORKSHOP: Creative Confidence, weekly Art Group SOLA Arts, every Thursday, 3pm SOLA ARTS have a Creative Confidence programme for people on benefits, unemployed or from refugee or migrant backgrounds. --

-Bona Pop The Gallery Liverpool, 2nd Nov – 1st Dec Many Pop artists from Warhol to Jasper Johns were queer, this exhibition will show work by two contemporary gay artists who continue to draw inspiration from popular culture. -Women Mentors: In the Arts Sector Tate Liverpool, 11th-17th Nov Open Eye Gallery as part of LOOK Photo Biennial host a week of free talks and workshops around the themes of mentorship and facilitation of opportunities for women in the arts sector. Featuring talks, workshops, projections and a display of work by women in photography, music, literature and business.

-The Errant Muse Victoria Gallery & Museum, 16th Nov – 28th Mar This innovative exhibition brings together, for the first time, new work by long-time collaborators artist Charlotte Hodes and poet Deryn Rees-Jones.

WORKSHOP: Lino Cut & Print Christmas Cards Workshop Chemist & Co, Hoylake, 5th Nov Led by Artist Catherine Carmyllie, this workshop in the relaxing setting of a candle making shop will guide you through the steps of designing, cutting and printing your own unique design onto a set of 10 greetings cards.

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TALK: Meet The Maker – With Matthew Harris and Raef Baldwin Bluecoat Display Centre, 9th Nov Our exhibition features Matthew Harris Textiles and Gordon Baldwin ceramics alongside each other. Maker Matthew Harris and Raef Baldwin (son of ceramicist Gordon Baldwin) will be here in the gallery for this special event. --

-JÓL Bluecoat Display Centre, 30th Nov – 18th Jan This exhibition will concentrate on beautifully handcrafted works in wood, metal, textiles, leather, ceramics and glass by leading makers from the UK and beyond to either give as gifts or use over the festive period.

WORKSHOP: Narrative & Figurative Painting w. Joana de Oliveira Guerreiro Bloom Building, 6th Nov Joana de Oliveira Guerreiro born in Lisbon. Graduated in politics but quit that in 2015 to become a full time artist. Since then, her practice focuses essentially in painting large scale narrative canvases.

NETWORK: Group Crit OUTPUT gallery, 10th Nov We offer free group crits at OUTPUT gallery for exactly that reason. Come along to one of our casual, friendly and supportive group crits to get feedback on what you’re making – or what you’re thinking of making.


e

Find FULL listings and events information at www.artinliverpool.com Call for Papers for Urban Transformation and Contemporary Art in China

Narrative & Figurative Painting w. Joana de Oliveira Guerreiro

Oxton Art Fair 2019 Williamson Art Gallery & Museum

:Disabled Women in Arts and Culture: Who’s Calling the Shots?

CONFERENCE: Call for Papers for Urban Transformation and Contemporary Art in China Tate Liverpool, 11th & 12th Nov Marking the 20th anniversary of the Shanghai-Liverpool twinning cities in 2019, The Centre for Chinese Visual Arts (CCVA) are now convening the 12th CCVA Annual Conference in collaboration with Tate Liverpool.

WORKSHOP: Etching Workshops – Introduction and Intermediate Bluecoat, 15th Nov Learn all about the etching process using our over 100 year old etching press in our Intaglio studio. On the day you will be shown how to create a hard ground and soft ground etching.

MARKET: CHET Art and Craft Fair Crosby Hall Educational Trust, 23rd & 24th Nov We are a charity based in Little Crosby and hold an annual Art and Craft Fair as a fundraising event each November. The money raised helps disadvantaged children to come here for an outdoor activity holiday.

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TALK: DaDaFest Talk: Disabled Women in Arts and Culture: Who’s Calling the Shots? Museum of Liverpool, 30th Nov Theatre maker and Associate Director for Graeae Theatre company, Nickie MilesWildin, will be your key note speaker and host of this event, looking at the representation of disabled women in the arts sector.

--WORKSHOP: Paperwork Theatre – Play Dates Liverpool Arts Bar, 12th Nov Come together, to share art forms, create new material and do some networking in a fun creative environment without the pressure of an end product.Hosted by Paperwork Theatre at Liverpool Arts Bar, Hope Street. --

WORKSHOP: Practice Portrait Session w. Helon Coning Bloom Building, 16th Nov Free session, to introduce drawing portraiture. One of our team will pose for you as Helon, teaches you how to draw faces.

-NETWORK: Monthly Group Crit The Royal Standard, 30th Nov On the last Saturday of every month, we’ll be hosting with a different artist-led space for a public group crit. Join us for drinks, music and active discussion about local artist’s work.

--EVENT: Toxteth Day of the Dead Hereafter Party District, 23rd Nov The Liverpool Arts Lab is delighted to present the Hereafter Party for this year’s Toxteth Day of the Dead! --

PERFORMANCE: DaDaFest: Raw Bluecoat, 30th Nov A wild night of raucous, irreverent and inclusive cabaret centering disabled women’s voices in the North West.Hosted by Liverpool legend Midgitte Bardot, Raw. boasts an incredible line up of performers including: Cheryl Martin, Ivy Profemme, Jackie Hagan and Marilyn Misandry.

MARKET: Oxton Art Fair 2019 Williamson Art Gallery & Museum, 30th Nov – 1st Dec This year at the Williamson Art Gallery there will be 23 professional and semiprofessional artists and friends who will gather together for a pre-Christmas showcasing of their work across three gallery rooms. .


JOBS & OPPORTUNITIES For more details on all opportunities, including links on how to apply, head to www.artinliverpool.com/opportunities To send us details on jobs or opportunities for artists, email info@artinliverpool.com

CALLS Artist Commission, New Words Project, Time to Read, North West Reader Development Partnership Time to Read is commissioning an artist or designer to create an imaginative response to the work of some of the most exciting and innovative North West ACEfunded publishers: Carcanet, Comma, Saraband, Dead Ink and Knives, Forks and Spoons as part of the New Words Project. DEADLINE: 8th November -The Fold Creative Programme, Deco Publique & Great Place: Lakes and Dales Call for Expression of Interest for artists, musicians, makers, crafters and workshop facilitators as part of a programme of events occurring for young people in the Lakes and Dales. DEADLINE: 28th November

Board of Directors, In-Situ In-Situ is an ambitious collaborative organisation, looking to expand its board. We are seeking new members for the Board of Directors who will embrace our ethos and will take us forward with commitment and enthusiasm. DEADLINE: 4th November -Artist / Performance Call Out, SpareParts Festival The UK’s only free festival of art and performance dedicated to transport, motion and travel seeks dynamic, imaginative and accessible outdoor work! This year we particularly welcome work that encompasses our theme ODYSSEY: A journey, adventure or search; connecting people and places with the power to change everything. DEADLINE: 1st November

--CALL FOR ARTISTS: CONTESTED DESIRES A transnational project exploring our shared and contested Colonial heritage and its influence on contemporary culture. DEADLINE: 18th November -BSA2019 – The Art of Diversity Now in its sixth year, the award is the fastest growing contemporary art competition for artists, illustrators, and fine art photographers. Previous winners have come from Japan, Holland, London, Romania & Germany with runners up from every corner of the globe. DEADLINE: 16th December --

Call for Live Artists, SPILL YER TEA #2 Calling all UK Live Artists at all stages of their practice; come and share work at SPILL YER TEA, an accessible and all inclusive experimental scratch night based in Liverpool. DEADLINE: 20th November -Book Opportunity for 50 Female Artists We are looking for 50 female artists to be included in a book to be published by the end of December 2019. DEADLINE: 1st November --

LightNight 2020 Commissions – Home For LightNight 2020, Open Culture are looking to commission several new works responding to our theme of ‘Home’. We are looking for new works by emerging or established artists living or working in the UK. Proposals in any artform are welcome including visual arts, sculpture, technology, moving image, spoken word, performance, installation, light art or any combination of these. DEADLINE: 3rd November .


JOBS Community & Volunteer Engagement Coordinator – Gwynedd, The Reader We are looking for someone with strong community engagement experience who can make a real difference to The Reader’s presence in North Wales DEADLINE: 6th November -STEM Ambassador Support Coordinator, Science and Industry Museum – Manchester The Science Museum Group is passionate about growing science capital through informal, science, technology, engineering and maths (STEM) focussed learning. DEADLINE: 6th November -Retail Sales Advisor, Science and Industry Museum – Manchester Buying a souvenir is always a big part of having a super day out – and the retail team at the Science and Industry Museum love helping people find exactly what they are looking for. DEADLINE: 30th November -Senior Engagement Manager, Manchester International Festival The Senior Engagement Manager will manage delivery of and contribute towards shaping the strategy for engagement and participation activity at The Factory. DEADLINE: 17th November -Engagement Manager, Manchester International Festival The Engagement Manager will help develop and deliver a programme of activity at MIF21 and as part of The Factory’s opening season and ongoing programme of work. DEADLINE: 17th November --

Engagement Network Freelancer, Manchester International Festival The Engagement Network (*) is an informal network of Engagement Leads across the city’s cultural organisations that share best practice and collaborate on strategic priorities such as activity mapping and diversification of the sector’s workforce. DEADLINE: 4th November -Box Office Assistant, Royal Liverpool Philharmonic This is a part time, variable hours role working to provide an efficient ticketing service for all Philharmonic Hall promotions, with the objective of maximising ticket sales in association with the Marketing Team. DEADLINE: 22nd November

Chair, Liverpool & Merseyside Theatres Trust Limited (LMTT), Liverpool Everyman & Playhouse E&P seek a Chair of the Board of Trustees to provide leadership and direction to the Board of Trustees, ensuring that they work effectively, independently and fairly. DEADLINE: 18th November -St Helens Arts in Libraries Advisory Board Members St Helens Library Service was one of only six library services in the country to be awarded National Portfolio Organisation (NPO) status by Arts Council England in 2018 to continue to deliver its established and award-winning Arts in Libraries programme, Cultural Hubs. DEADLINE: 5th November --

-Education and Learning Manager, The Met We are seeking an Education and Learning Manager to join our staff team. We are passionate about the power of art to transform communities and society, and our focus is to develop artists to ensure their success. DEADLINE: 17th November -Volunteer Opportunities with Dippy on Tour in the North West, Link4Life The world famous Diplodocus dinosaur cast from the Natural History Museum is on a national tour and he will arrive in Rochdale, his only North West stop, in February 2020. DEADLINE: 17th November

Festival Director, Didsbury Arts Festival Festival Director sought to deliver nineday, community arts festival, 26 June – 4 July 2021. Previous experience in arts event management and working with community stakeholders is essential. DEADLINE: 6th December -Project Manager – Children and Young People, Writing on the Wall To coordinate the development of Writing on the Wall’s work with children and young people, with specific reference to delivering WoW’s school-based Super Heroes: Words are our Power project, coordinating WoW’s new children and young people’s writing and literary festival DEADLINE: 8th November

--Customer Experience Manager, Manchester Theatre The Customer Experience Manager is responsible for leading a strong front of house (FOH) operation and audience experience, managing and motivating our Front of House Team. DEADLINE: 1st November --

Digital Arts Action Research Project Tender, St Helens Library Service, St Helens Council We are interested in developing an ‘action research’ approach to developing digital engagement within St Helens Library Service through the question: ‘What might a digital arts programme look like in St Helens?’ DEADLINE: 11th November


Image: Liv Free, Crow's Eye Productions

25 October 2019 to 1 March 2020 Members go free Buy tickets online liverpoolmuseums.org.uk AELW_ArtinLiverpool_283x356.indd 1

28/08/2019 10:02

Profile for Art in Liverpool

Art in Liverpool Magazine, issue #20, November 2019  

News, Reviews & What’s On. Your monthly update on visual art in the Liverpool City Region

Art in Liverpool Magazine, issue #20, November 2019  

News, Reviews & What’s On. Your monthly update on visual art in the Liverpool City Region

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