Issue #19 - October 2019 News, Reviews & Whatâ€™s On. Your monthly update on visual art in the Liverpool City Region
cover image: Install shot from A Little Painting Show, Dead Pigeon Gallery at the Office of Dan Carden MP.
New photography from UK and China. Unfolding across Liverpool, The Wirral and Shanghai. Launch night: 17 Oct, 6-8PM at Open Eye Gallery. All welcome! Afterparty at Constellations. www.openeye.org.uk/look/
Art in Liverpool magazine is a monthly newspaper promoting visual art across the Liverpool City Region.
Art in Liverpool, issue #19, October 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: email@example.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: firstname.lastname@example.org Editorial: I’ve spent a great deal of time this month mulling over the reasons behind what we do here, reasoning with myself and others that Art in Liverpool exists to do X, or strives to do Y.
issue #19, October 2019 Editor: Patrick Kirk-Smith Contributors: Lorraine Bacchus, Sophia Charuhas, Samantha Browne, Gabriella Warren-Smith Advertising, sponsorship, distribution, stocking & event enquiries should be sent to email@example.com Art in Liverpool C.I.C. Company No. 10871320
We’re about a quarter of the way through a year of research and development for next year’s Independents Biennial, with the support of Arts Council England, and a big part of that is self-definition. So yeah, it’s a bizarrely strange question. Art in Liverpool, in its fifteenth year, on its third editor, now overseeing one of the region’s major festivals, needs a reason to be. I’ve always had in the back of my mind that Art in Liverpool exists to widen and strengthen the range of audiences engaging with the arts, and that it serves major galleries and tiny studios alike, supporting artists at the start, the middle and the end of their careers. Independents Biennial, sure, that happened last year, and it’ll be absolutely central next year, but Art in Liverpool? Well of course, because that’s what we do. But why we do it, is another question. It’s like being at a networking event and getting asked to say a little about
yourself; you throw out your job title, something about your company, maybe your background, but you don’t actually tell people about you. It’s that which we’re stuck on. And I think I’ve come to a conclusion; we’re stuck because we don’t have a manufactured reason for existing. Art in Liverpool was founded as a passion project in 2004 – something that filled hours with joy and excitement, discovering new artists, ways of working and doing culture, and all the while sharing that with the rest of the world through the relatively new medium of blogging. Fifteen years on, there’s no difference. The website, magazine, festival, artist support, it all runs on the power of being genuinely passionate about what we do. Our writers – and seriously take some time to think about their reactions to exhibitions in this issue – are not fabricating excitement. Lorraine Bacchus, who wrote our cover story, turned up to the office of Dan Carden MP not knowing what to expect of A Little Painting Show. She adored it, and sent in her review that same day. The same goes for the other reviews in this paper. They’re written by writers who
have never been put on assignment, who simply decide to see something and, if they have something to say, write it down. Sharing our passion for the arts in this city is central to what Art in Liverpool has always done. The difference now is that we help to create some of it through Independents Biennial. We’re no longer the critical voice in the room at meetings, we’re the voice that’s learning from everyone around us; constantly finding out how things are done, and how we can put our weight behind independent spaces and independent voices; how they respond to, and thrive because of, the major galleries, whose programmes create a non-stop buzz of culture in the city. So no, I don’t think we need a reason to be. Because we don’t have one. We wake up and we do what we do because if we didn’t someone else would take that opportunity from us. It’s selfish in a way, but I’m not apologising for a second. And FYI, if you ever want to join in and write for us, or think we can give you a platform in another way, this paper is put together by volunteers and we’re always happy to expand that team.
Review: A Little Painting Show: Dead Pigeon Gallery
The title and location of this exhibition is intriguing and its promise of something unusual does not disappoint. It is immediately clear that the art has something to say and is not there simply for adornment of the office walls. Josie Jenkins, one of those included in the show, brought the other 20 artists together. The “little” in the title is not indicative of modest ambition but applies only to the 30 x 30cm maximum size Josie stipulates when inviting an artist to take part. Anna Ketskemety, another artist in the show, has done a good job in curating the works, giving each of them a chance to own its space. Josie has organised other such gatherings of experienced artists to show their little paintings but on this occasion the idea to exhibit in Anfield came from The Dead Pigeon Gallery. This is a travelling Gallery run by artist Jayne Lawless and designer Catherine Dalton. They host exhibitions in unexpected places, the name coming from their first show in an abandoned warehouse, which involved them cleaning up years of dead pigeons and their mess.
delighted to be hosting another show: “It’s all about demystifying politicians, making people feel comfortable and it contributes really well to our open door policy”.
Dan Carden, MP, has collaborated with Dead Pigeon before and one can only hope that his supportive way of combining art and politics might be something more MP’s will emulate. Ian Byrne, the Office Manager and Local Councillor, says they’re
Making art more accessible is at the heart of Dead Pigeon’s ethos, as Jayne explains: “We still see a big class divide when it comes to the arts. As working class artists ourselves we feel we can encourage and inspire others to come through and have
a voice in creative industries. By putting exhibitions in non-traditional venues we stimulate viewers into extra layers of debate and dialogue around the work itself and its temporary home”. Max Mallender’s work often has a temporary home; he is known around Liverpool for his site-specific interventions and graffiti: “My goal is to harness the power and spontaneity of illegal creativity, and to utilise it with humour and love”. There’s nothing illegal about his work here but it has an appealing, subtle anarchy to it. “Let Me Think” – acrylic and ink on unprimed, folded canvas held at the corners with cable ties and a couple of staples. Daniel Newsham’s piece “Polling Station” is in a most appropriate setting given its reference to elections. Its back to front depiction of the title words reflect what many a political pundit has suggested – that a lot of politicians need to hold a mirror up to themselves. With these shows of small scale works, Josie has found a way of interacting with the painters she admires and of bringing their art to a different audience: “Nobody ever says ‘no’ when I approach them, which is trusting of them and so generous because they don’t get paid for being in the
Show”. She adds that the paintings are for sale but “the main aim of the shows is just to get the work out there”. It is a wide range of styles she has brought together in Anfield, making for a stimulating exhibition. To give some examples: Bryan Hible’s realist technique, David Lock’s collagist approach to the male figure, Lindsey Lavender’s architectural background reflected in overlooked aspects of the built environment, Ula Fung’s use of Chinese Paints on Silk, James Quin’s Repetition from Reproduction (after Matisse), Sarah Gilman’s exploration of the still life through trompe l’oeil … all the artists here prove without doubt that the medium of painting is alive and well and that it can be pushed in unexpected directions. Quite a few of them have received recognition of their work through significant prizes, among them Josie herself: the Valeria Sykes Award, New Lights Art Prize 2013 and ‘Best Landscape’, in the 2012 West Lancashire Open. Another is Keith Ashcroft, who received a Special Commendation last year in the prestigious Contemporary British Painting Prize. This Show is a great opportunity to see what’s happening in contemporary
Review: Something Borrowed, Something New, at Victoria Gallery & Museum
painting. It’s also worth spending time exploring the websites of the exhibiting artists, details of which are available from the organisers. The Show is on at the Office of Dan Carden, MP, 66 Priory Road, Liverpool, L4 2RZ. It is open by appointment until 1st November through Josie Jenkins josiejenks@yahoo. co.uk or Jayne Lawless jaynelawless7@ gmail.com. There will also be some open afternoons in September and October. Dates to be confirmed with the organisers. -A Little Painting Show: Dead Pigeon Gallery at Dan Carden Constituency Office, Anfield, until 1st November Words, Lorraine Bacchus Photos, Josie Jenkins
When Salford-based artist Ian Irvine was asked to respond to the artworks in the Victoria Gallery & Museum’s collection, he took inspiration and curation to the next level by creating psychedelic collages out of a number of the museum’s images. Irvine already had experience in making collages out of 18th and 19th century paintings, taking the paintings and changing them in such a way that would entirely change the original narrative. “Certain artworks immediately appealed to me, such as the portrait of Anna Ashton by Joseph Wright of Derby,” Irvine explained. The artist’s gravitation towards some of the works can be seen in the repeated used of the same works in different collages, giving a sort of harmony to the seeming randomness. The result is a colourfully controlled chaos. The images were made by transferring some images to silkscreen and making screen prints, with additional layers of colour to add some painterly style without hiding the original image. Irvine identifies artists Robert Rauschenberg and Richard Hamilton as contributors to his inspiration.
Irvine was born in Toxteth and educated in Fine Arts at Manchester Metropolitan University as well as University College Chester. He has been exhibiting his work for several decades, and now tutors art students from several universities. He aims to make his art surreal, dark, disturbing, and sometimes humorous. The collage style has a vintage feel, nostalgic of 1960s and 70s art prints, with a tone of organised clutter. If you are looking for a unique way to experience museum artifacts, Something Borrowed, Something New is the exhibit to visit. It is free and open to visitors at the Victoria Gallery & Museum Tuesdays through Saturdays, 10:00am-5:00pm until October 19th. -Something Borrowed, Something New is open at the VG&M until 19th October Words, Sophia Charuhas
Are smartphones changing our brains and behaviour? Cognitive Sensations answer some key questions by Gabriella Warren-Smith
Tap > Pause > Open > Continue You’re on your own for the first time in an hour. You whip out your phone and make the most of this stolen moment. Swipe > Zoom > Capture > Continue Something catches your eye and you instinctively take a photo, continuing to walk whilst looking through the viewfinder of your phone. Twitch > Touch > Check > Continue You experience that familiar feeling that draws you back. A quick tap and you know in an instance that there’s nothing else to report. This isn’t a conscious decision, it’s ingrained into your behaviour making you as automatic as your phone. Buzz > Bleep > Load > Continue Four years ago whilst working as a Gallery Assistant at Bluecoat, I was captured by the dramatic impact of smartphones on exhibition experience. For hours I’d sit watching visitors and pick up patterns in their behaviour; from the number of photos they’d take; the length of focussed time spent looking; their reluctance to read long passages of text; to the continuous twitch that brought everyone back to their phones. Feeling more and more like a social observer, I asked myself the question: Does this go further than gallery experience? Are smartphones actually changing the human brain? This was how Cognitive Sensations was born - my project exploring the intersection between art, science and digital culture, and the name of my research blog. Compelled by this idea that the digital age could be shaping society, I began my investigation with an online course in neurobiology and a stack of books examining the impact of the internet and digital technology. Although I found myself easily led down the pathway in thinking that our brains are indeed changing, I couldn’t ignore the most crucial takeaway agreed by most in the great digital debate: the impact of our digital devices has yet to be determined. We have not yet lived a lifetime with the internet and smartphones, so the biological impact of their presence cannot be simply resolved. Motivated by this important factor, I began raising the funds to organise a series of exhibitions and events, that would feature leading academics, artists and thinkers exploring these very issues. This is what I found out.
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One of the most common subjects in popular science and digital culture is that our attention supplies are running low. As we become increasingly productive with the help of our digital tools, it is common to multitask across different modes of communication and digital media. Although on one level this makes us more efficient, it also results in the division of one’s thoughts, resulting in a decrease in focus and the potential for distraction.
Twitch > Touch > Check > Continue. This is a repeated set of actions reverberated by the majority of UK smartphone users, resulting in the shocking figure that the average person checks their phone every 12 minutes. What’s happening during this cycle? Every time you go to touch your phone, the same neurons in your brain are activated along a neural pathway. These pathways are strengthened or weakened depending on the regularity of their activity, and in this case are transformed into a rigid behaviour, otherwise known as a habit.
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In the panel discussion series, the subject of attention was a popular feature. UCL neuroscientist Nilli Lavie explained that attention has a limited capacity and cannot be affected by what we do. As a biological function with a genetic component, we cannot generate more attention, just as we cannot reduce it. Neuroscientist Richard Cytowic says that we must approach attention in terms of energy cost, arguing that task switching consumes a high level of brain energy, reducing efficiency by up to 50%. Although both of these arguments are scientifically correct, the most compelling thing that I learnt about attention is not to do with biology. Curator Vanessa Bartlett posed the question “if technology really is having an adverse effect on its user’s attention spans, whose interest does this fulfil?”. The ecosystem behind technology is built through forms of power, data and advertising, and it is these components that manipulate what we pay our attention to. In an essay by Warren Neidich, he analyses this ecosystem and the people behind it: “The problems for business people lie in both sides of the attention equation: how to get and hold the attention of consumers... and how to parcel out their own attention in the face of overwhelming options... Understanding and managing attention is now the single most important determinant of business success. Welcome to the attention economy” Behind the screen, the keypad, the notifications and the glow are the companies that want your attention. It is not the technology that lures its user in, it’s the organisations that create the content. Blaming the device itself is a common misconception, we must ask instead who lies behind it.
This might seem obvious, but it’s important to note that the regularity of our actions alter the structural connectivity of the brain. A personal favourite neurological function which underlies this process is neuroplasticity, which in simple terms refers to the brain’s ability to adapt to its environment. It is the fundamental biological process which explains the potential for digital technology to shape the brain. Professor of Psychiatry Bruce Wexler, is a key academic in illustrating the important role of culture in neuroplasticity, and emphasises that ‘humans, and humans alone, shape and reshape the environments that shape their brain’. The same is thought about the influence of our actions, reflected through the views of philosopher Catherine Malabou, who claims that “human practices alter or affect brain-body chemistry, and, in return, brain-body chemistry alters or affects human practices”. This neuro-cultural interpretation forms the foundational ideas behind Cognitive Sensations, considering how our lives are permeated with everyday technologies, which embody our experiences, environment and behaviour. So our brains are plastic with structures that adapt to our experiences, and businesses are competing for our attention. The leaders of the attention economy are well aware of the susceptible nature of our minds, and apply clever algorithms, advertising techniques, and repetitive notification stimuli to lure us into their clutches. It’s worth noting that one third of internet users are under the age of 18, making adolescents a prime target within the attention economy, a particularly susceptible group to social and environmental influences.
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It’s completely redundant to group technology users together, as our breadth and purpose of use is dependent on a huge number of variables. As a society, I don’t believe that we are necessarily developing in the same way to digital technology engagement, especially not at a grand evolutionary scale that some suggest. The impact of our devices takes form at a minute scale, and can be reversed if the individual desires.
Having entered this fascinating and vast landscape of research, I can confirm that I will not be leaving anytime soon! I was absolutely delighted to find I was successful in my Arts Council application for the Developing Your Creative Practice fund. The £10,000 will enable me to run the blog until June 2020, focussing on the development of my writing practice and research, and the commissioning of other writers in my field.
Desire and control are the key in this debate, and there are two different parties involved; the companies behind your device that are competing for your attention; and the user, which means you! Where some may be proud of their self-controlled digital habits, there are many who cannot resist the urge to tap in. Seductive and repetitive notification stimuli are programmed as dopamine hits, making the digital platforms a core reason behind our urges. However, the user is still accountable for their own decisions and lifestyle choices. If attention is part of a network that is economical, social, political and ethical, then it’s up to you where you invest it.
The upcoming season will be curated around the subject of perception, taking inspiration from my research trip in Belgium at the Visual Science of Art Conference. The pioneering media theorist and thinker Walter Benjamin, once said that perception evolves with history, determined by nature, historical circumstances, and the medium in which it is accomplished. In the digital age this medium is often screen-based, transforming daily experience into a dual relationship between the virtual and the physical. The upcoming months will test Benjamin’s theory of perception, repositioning it within 21st century digital culture. If there are any readers who share a similar interest in the article content, then I would love to hear from you. Please don’t hesitate to contact me with ideas, coffee dates and artwork portfolios at firstname.lastname@example.org. I hope you’ve enjoyed reading this article, and invite you to subscribe to the Cognitive Sensations blog by either contacting me or signing up online at cognitivesensations.com.
“Westwood” at The Atkinson in Southport was two years in the planning and it was a bold and inspirational move by the exhibition’s curator Joanne Chamberlain, as this showing of such a world renowned fashion designer breaks new ground for the gallery. Spread over three designated areas, the exhibition includes dresses, suits, t-shirts, corsets, shoes, jewellery and accessories by Vivienne Westwood (b.1941). When you enter the space through the butterfly covered double doors of the Art Box, you immediately become the audience in a fashion show as you come face-to-face with a catwalk of Westwood’s designs. The outfits ‘strutting their stuff’ provide a glimpse into the breadth of her talent as a designer, her love of history and her desire to inspire confidence in all of us to embrace our individuality. This is perhaps best encapsulated in one of the pieces, a man’s jumper, which features a technically accomplished dropped armhole completed with a second fabric, a feature reminiscent of the slash-cuts of the 17th century, as if showing the shirt underneath. The sleeves are also covered in a bold geometric African-style pattern that was the hallmark print of her first catwalk collection ‘Pirate’ (Autumn/Winter 1981). Subtly underlying this is a facsimile of Westwood’s Squiggle wallpaper, which provides a stunning backdrop, highlighting Westwood’s diversity as a designer to explore avenues beyond fashion. Westwood has been described as an unashamed plunderer of the past, a fact hard to deny and instead this exhibition unashamedly embraces Westwood’s influences. For example, a large facsimile of Daphnis and Chloe by François Boucher (1703-1770) dominates one of the spaces. This is assertively juxtapositioned behind a row of Westwood’s pieces such as the ‘Kiss Jacket’ (1992/1993), which features a section of Hercules and Omphale (17301739) by Boucher. As you walk through the spaces you realise that Westwood’s work went beyond the clothing racks in fashionable boutiques and into the realms of social history. Perhaps the most poignant garment in the exhibition that exemplifies this is Westwood’s ‘Cowboy’ t-shirt depicting two nude cowboys. The graphic was originally published in the French magazine ‘Manpower!’ in 1974, drawn by the artist Jim French (1932-2017). Alan Jones, a shop worker, was the first person to wear the t-shirt in public and was promptly arrested on the King’s Road, London, charged with “showing an obscene print in a public place” under
Review: Westwood, at �e Atkinson the Vagrancy Act of 1824, for which he received a fine. Similarly, when you look at the shoes you cannot help but be reminded of Naomi Campbell’s famous fall at Westwood’s 1993 show in Paris which hit the headlines across the world. Another interesting dimension to this exhibition is the intimacy of Westwood’s relationship with the visitor. This is created through the various direct quotes on the Tiffany blue walls, which is a replica of the colour used in Westwood’s first boutique in London. The quotes provide an insight into Westwood’s philosophy on life and as you read her words you cannot help but form an immediate relationship with the designer, albeit in essence. This relationship touches upon a refined quality that underlines this exhibition, that is the reverence people have for Westwood. The items on display have not been tucked away in museum drawers but bought, cherished and kindly loaned by an ardent collector, Malcolm Garrett, whose passion for her work has lasted decades.
An endearing photograph of Westwood testifies that she is now a Dame of 78 and it is questionable whether at this age the plunderer has become the prey for a new generation of designers, such as Jenny Sun. However, Westwood’s influence on others is not touched upon in this exhibition, neither does it follow one statement collection, or one time period of her work, or compare and contrast her to her contemporaries. Is this a failing? Well, the clue to this exhibition is in the title: ‘Westwood’ – pure and unconfined. The over-riding perception one can take from this exhibition is that Westwood is multi-talented and fundamentally a woman with a love for humanity: “You’ve got to start to love the world and know about the whole genius of the human race. We’re amazing people.” Perhaps herein lies the secret of her enduring appeal. -Westwood is open at The Atkinson until 28 March 2020 Words, Samantha Browne
Indulge your curiosity and realise your potential! Short courses, lectures and events for adults from every walk of life We have been inspiring and educating adult learners in the City since 1889. Our diverse programme of short courses offers something for everyone from Art History to Writing for Children. Take a look at our new programme for 2019/20:
www.liverpool.ac.uk/continuing-education/ or follow us on Twitter @livuniCE
Review of Coast to Coast to Coast, September 2019 A recent event hosted by Open Eye Gallery was one of those special happenings, where several art forms coalesced to produce a feast for the senses: the spoken word, visual art and music formed the launch of the latest Coast to Coast to Coast, a limited edition, hand-stitched poetry journal.
about the Brazilian artist, Mira Schendel. His poem Mira-1 is the first in the latest journal: oceans and papery deserts built from nothing but song
Each cover of the journal is unique, handmade by Maria Isakova Bennett, a published, prize-winning poet and artist from Liverpool. In the two years since she began this ode to poetry itself, she has stitched over 750 covers, generously gifting one to each of the poets whose work is selected for the journals. The covers epitomise a labour of love but for Maria the time is well spent: “There have been moments when I thought I couldn’t keep up the pace! But it’s all about the poets, a thank you for contributing their work”. The evening of poetry readings from some of those featured in the latest edition was interspersed with music from saxophonist, Nick Branton. His playing ranged from the clear and mellow one associates with his instrument to the most extraordinary improvised sounds, as if the sax had taken up residence in his lungs. Somebody said it was like the pentameter of poetry, the uneven breaths and the stressing and unstressing of syllables. Behind him, as part of the Gallery’s LOOK Photo Biennial, were photographs taken on Crosby Beach by Yan Wang Preston and Nick’s playing seemed at times also to have the sound of the sea. As well as several readings from the latest journal, the event also featured poems from a collaborative project between Maria and poet, Maureen Boyle, The Nunwell Letter, based on letters from Ann Moore to her husband John Donne. Isabel Bermudez, who won the Individual Poet’s Journal competition, read from her winning collection, Madonna Moon, as well as other works. Excerpts were read on behalf of Lydia Harris, the second winner, whose work Painting the Stones Back, evokes the island of Westray where she lives. Another of Maria’s collaborative projects has been with Scottish poet, John Glenday
11 – 12 October 2019
In partnership with:
@livuni Supported by:
Book your tickets at: liverpool.ac.uk/literary-festival
always louder at night like those ivory flowers which open only in darkness so that their voices I mean their scent might draw down the stars The journals are pocket-sized, limited edition artworks, gems to be treasured in today’s throwaway society, the beautiful antithesis to an E-book. A small number is available for sale through Maria, www. mariaisakova.com. She receives no funding for Coast to Coast to Coast, which started with a dream to create and to travel. It has indeed taken her all over the UK, including special events at the Belfast Book Festival and Poetry in Aldeburgh. Writing poetry is a solitary experience but one that must surely come from being amongst people – observing and recording details, those fragments that become the poems. Later, when the magic has been worked, the poems need people again, to read them and to listen to them. It was a pleasure and a privilege to have been one of those people. -Coast to Coast to Coast is available now at/www.mariaisakova.com/ Words, Lorraine Bacchus
In a town once labelled ‘England’s suicide capital’, artist and mental health activist takes over old Argos store to create an arts festival that cares
For the month of November, local people are invited to be part of a ‘Madlove’ Take Over festival. Artist the vacuum cleaner (James Leadbitter) is working with Merseyside-based social arts organisation Heart of Glass to bring 13 local, national and international artists and communities together to make exhibitions, films and new performances for a pop-up space in central St Helens aimed at supporting people’s mental health. Artist James Leadbitter says: “My mental health has nearly killed me…twice, so when Heart of Glass, invited me to curate a mental health themed festival in St Helens, I seized the chance. My ongoing ‘Madlove’ project is about creating unique, warm, welcoming and playful spaces where mutual care can blossom, stigma and discrimination are actively challenged.” Fresh from his 6 month project with mental health patients at Great Ormond Street Hospital and the resulting artwork for the Wellcome Collection’s new 10 year exhibition “Being Human”, James believes that art can have a transformative effect on supporting healthy minds and a healthy society.
Artist James Leadbitter says: “I grew up in Burnley, a place like St Helens and many other towns across the country. The kind of place that has been left behind. By taking over the now closed Argos store and producing a colourful, exciting and welcoming space together, I hope we can create somewhere for people to go to try and re-build that sense of community that has been lost.” Many of the artists and groups involved have struggled with their own mental health. From acclaimed Indonesian artist and activist, Hana Madness, who will cover the town in colourful bipolar monsters, to Perrier Award-winning comedian, Kim Noble, who will present his attempts to end his loneliness. Local artist, Hwa Young Jung has been having conversations across the town to create a map of all the places in St Helens where you can experience care – from the friendly person working at the chippy to formal mental health support services. The festival will be opened by writer, artist and part-time superhero Jess Thom, aka Tourettes Hero, whose comedy show Stand Up, Sit Down, Roll Over proves it is possible to be both the most persistent heckler as well as the main act. Emily Gee, Senior Producer at Heart of Glass says:
“Take Over is our annual festival that reimagines public spaces through art projects made with, for and about people in St Helens. This year we’re building on a longterm programme of work which looks at how society affects individuals’ experiences of and treatment for mental distress. This programme includes a major collaborative commission The Suicide Chronicles, led by artist Mark Storor, the first part of which features in this year’s festival. We are excited and honoured to be working with James, along with all of the artists, community groups and organisations in the creation of something very special for the Madlove Take Over.” The Madlove Take Over space will be open for cups of tea, chats, and moments to relax and be a place where everyone can experiment and explore through the projects presented as well as organise their own activities. It will be open 1-30 November, 11am – 6pm, Tuesday – Saturday, at the old Argos store, Unit 2, The Hardshaw Centre, Church Street, St Helens. Everything is free and everyone is welcome. #TakeOverStHelens -Find out more: www.heartofglass.org.uk www.thevacuumcleaner.co.uk
Find the latest news & more on these articles at www.artinliverpool.com
dot-art Opens Liverpool’s Only Public Darkroom dot-art is delighted to announce the launch of their new, open access darkroom in Liverpool city centre’s Cotton Exchange. Building on the continued success of their creative courses and art workshops, the darkroom will offer classes for beginners and the option to hire the space for more experienced photographers. This Autumn will also see the launch of a range of new courses to add to our popular regular sessions, including Introduction to Cartooning, Portrait Painting and Sketching in the Anglican Cathedral. The dot-art Darkroom is working with professional photographer and analogue specialist Rachel Brewster-Wright to offer one day Introduction to the Darkroom
workshops and Analogue Weekends, where she will take you through the whole process of shooting, processing and developing your own black and white film over 2 days. For experienced photographers and those who have completed one of these courses, we have Darkroom Membership. Members have unlimited access to the space via our online booking system and can also choose to book it with a technician if they need a little more support. dot-art Managing Director Lucy Byrne said: “We are very excited to be opening the dot-art Darkroom and giving the photographers of Liverpool the chance to access facilities that are not available anywhere else in the city. We are keen to engage with anyone interested in analogue photography and encourage enthusiasts to get in touch and arrange a visit.” Away from the darkroom, at Bluecoat from October, we have the return of our popular courses in Life Drawing, Beginners Acrylic Painting, Abstract Painting and Watercolour. Joining these is a 10 week Portrait Painting course, and a new 3 day course, Art for Beginners, for those who want to get creative but don’t know where to start – over three Sundays you will get
experimental and learn fundamental skills in a range of fine-art media. Also new is a one day Introduction to Cartooning workshop, in which you will create your own animated illustrations, learn how to structure characters, denote body language and accentuate features with artist Tommy Graham. These are joined by our ever-popular Sunday workshop in Festive Feltmaking. Over at the Everyman we see the return of our Drawing Techniques evening course, which is designed to develop observational and expressive drawing techniques and skills, and the 3 day Drawing for Everyone course, taking place on Saturdays in November. Also on Saturdays we have single day workshops in Lino Cut and Digital Photography for Beginners. Our NEW venue for the Autumn is the Anglican Cathedral, where we are very pleased to be holding our new Sketching in the Anglican workshops on Saturdays in October and November with artist Kathy Dereli. Finally, our dot-art Club for creative children takes place at the fantastic Baltic Creative on Jamaica Street. We run
afternoon sessions for 10-13 year olds, in two six week blocks, starting 22nd September and 10th November. Every week our young artists will be encouraged to develop their drawing skills and build a lifelong love of art under the expert guidance of artist Sarah Jane Richards. Full details, prices and booking information can be found here: dot-art.co.uk/artclasses. These courses often sell out, so don’t delay! -You can find out more about the dot-art Darkroom at dot-art.co.uk/darkroom/
Details announced for Liverpool SOUP returns for more LEAP Fringe
community crowd funding this October
A programme of pop-up performances will take over Hope Street, treating drinkers and diners to world class dance in unexpected places, including Liverpool Metropolitan Cathedral, Blackburne House and Pen Factory as mardi of MDI’s free Fringe Festival, from 11-12 October. As part of MDI’s year-round commitment to talent development, Sole Rebel Tap, Lisi Perry, Lucy Starkey and Matthew Rawcliffe have been awarded grants to present new work. Inspired by American Tap dancer William Henry Lane (often credited as the creator of the dance form), Sole Rebel Tap present a new contemporary work. The collective, dubbed “larky, sexy, a bit rough at the edges, and irresistibly likeable” by The Observer, have previously performed at Edinburgh Fringe, Brighton Fringe, Secret Garden and Wilderness Festival. Renowned dance artist Lisi Perry, who has worked with Scottish Dance Theatre, a visually stimulating and sonically compelling dance work, exploring elements of play, predictability and physics. The piece also enrols the talent of four other dance artists and 25 dance students, making it a truly collaborative work. BBC Young Dancer of the Year 2019 finalist Matthew Rawcliffe is the creative force behind The Sun Rose, a duet celebrating fantasy and queer intimacy, set to a soundtrack of music by Roberta Flack. The piece explores relationships, and its setting within the iconic Hope Street Suitcases seems fitting, with travel a constant reminder of our ties to one another. Finally, dance artist Lucy Starkey dons her helmet to become “Captain Lightstar Starkey” for Spacewalk, a space-themed adventure for performer and audience travelling from one end of Hope Street to another, and perfect for families. Starkey has 13 years experience creating and performing site-specific work, and is currently Associate Artist at Ludus Dance. -Read the brochure: leap_2019_brochure_v1
LEAP takes place from 3rd – 12th October across various Liverpool venues. For the full line-up of performances as well as to buy tickets for each show, head to mdi.org.uk/ leap-2019.
Liverpool SOUP got off to a strong start earlier this year raising £485 in just one night and is gearing up for more of the same on 3rd October at Tusk in the Baltic Triangle. The micro-funding concept was inspired by the successes of Detroit SOUP, who (since starting in 2010) have raised almost $150,000 for local projects. Building on the achievements of the original Liverpool SOUP, which ran between 2015 and 2017, the 2019 revival looks to further cultivate the Liverpool institution of looking out for those around us and raised an amazing £485 for Croxteth Community Garden back in June. The micro-funding event brings people together from across Liverpool and showcases up to four grassroots projects who pitch their ambitions in a bid to win all the money donated on the door by the attendees. And what do the people attending get in exchange for their donation? Not only do they get one vote and a bowl of soup to enjoy while they’re mulling over how to spend that vote, but they’re also learning about the inspiring projects afoot in their community and how they can support these projects with more than just their cash. Liverpool SOUP works to bring people together to help them share resources, time and passion for the things which most strike a chord with them, the pot of cash donated to the winner is only one part of the puzzle. Liverpool SOUP work to support all applicants in their success, whether they end up pitching at an event or not, by applying to pitch applicants will be able to opt-in to a
community of like-minded project organisers and receive advice and connections to help them achieve even greater successes. In the run up to our next event in October the pitchers will have the opportunity to work with AYCH to hone their pitching skills, and in addition to the cash prize, the winner of October’s Liverpool SOUP will also win a six-month-membership with Lab by Capacity worth £900 which has been generously donated. Any grassroots project can apply to pitch at a SOUP event providing they impact a Liverpool postcode. In the past Liverpool SOUP has seen a huge breadth of applicants from projects working to reduce food waste to those targeting men in later life who are prone to suffer social isolation. The events couldn’t be further from the Dragons Den, they work to champion all the pitchers with voters wanting to learn as much as they can about the projects rather than scrutinise them, and in the case of other SOUPs hosted around the UK organisers have found that the connections made at these events can be more valuable than the cash prize itself with members of the communities really buying in to the projects and offering their continued support
Find the latest news & more on these articles at www.artinliverpool.com
Homotopia Returns – Resist! Resist! The UK’s longest running LGBTQ+ arts festival, Homotopia, returns this November with artists including Travis Alabanza, Fantabulosa, Rachael Young, Oozing Gloop, Amy Lamé, Harry ClaytonWright, Split Britches and more. In the 50th anniversary since the Stonewall riots, Homotopia’s theme is Resist! Resist! exploring protest, resistance, challenging bigotry and intolerance.
Friends (at Blackburne House) will be a cabaret evening of queer performance.
Over the past 15 years, Homotopia has become a platform for LGBTQ+ art with a message. With a passion for social justice, the festival provides artists with a place to explore ideas to challenge societal norms and champion inclusivity.
At Unity Theatre, Rachael Young returns to Homotopia with ‘Nightclubbing’ her latest touring play, where afrofuturism and Grace Jones meet (finally!). Harry Clayton-Wright presents ‘Sex Education’ a new show exploring the role of gay porn in his sex education (this show is for over 18s only).
Fantabulosa brings a drag show for kids to Liverpool and Wirral on 2-3 November. A queer positive children’s performance project it uses interactive storytelling to celebrate self expression, using imagination and glitter, to break down boundaries.
The 2019 programme highlights include; Travis Alabanza, the acclaimed performer, writer and theatre maker, returns to Homotopia 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
London’s night czar and LGTBQ+ campaigner, Amy Lamé, comes to Tate Liverpool for a conversation on LGBTQ+ activism and art from the 1980s to today, celebrating the final week of the Keith Haring exhibition. The Gloop Show by the one and only Oozing Gloop, the world’s leading, green, autistic drag queen. Taking you on a psycho-
magical trip from the universal AEIOU to the particular 3 3 3 2 2 (and back again). A survival guide for the 21st century, to the accompaniment of Bonnie Tyler and Bette Davis. Joan, stars Drag King and British actor Lucy Jane Parkinson aka LoUis CYfer. An anarchic cabaret show telling the story of Joan of Arc, the fifteenth century French teenager who dressed like a man to save the city of Orleans, but was burned at the stake for being a heretic. Festival Director Char Binns says, “Resist! Resist! Is such an important theme for us at Homotopia because we are still in protest mode, 50 years after Stonewall. As the world becomes angrier, smaller, and less tolerant, we provide platforms for artists who offer a new way of self expression and, by making their voices heard, provide new forms of resistance. Art and culture is one of the most powerful ways to spread ideas, to champion diversity and to challenge hate. At Homotopia we are at the front of the protest with our banners raised high”.
-For the full festival programme and for tickets go to https://www.homotopia.net/
Hidden archives at the National Trust’s Hardmans’ House to be revealed The National Trust’s Hardmans’ House – often considered to be one of Liverpool’s hidden gems – is set to finally reveal a huge collection of unseen photographs after being awarded special funding by the National Archives in London. Hidden away on Rodney Street in the city’s Georgian Quarter, the house was once the home and photographic studio of the one of the city’s most famous photographers, Edward Chambré Hardman. Well-known for his portraits of 1950s and 60s celebrities and iconic shots of post-war Liverpool, the photographer’s house has been preserved as a time capsule since it was acquired by the National Trust in 2003. Since then, the many thousands of people who have visited the heritage attraction have fallen in love with its story, from the photographic studio filled with original props to the kitchen brimming
with perfectly preserved items of 1950s domestic life. Kept away from visitor’s eyes, however, is the Edward Chambré Hardman Photographic Archive. It contains over 140,000 photographic prints and negatives dating from the 1920s to 1970s, business records and personal papers, and has been stored securely in the Liverpool Records Office Now, thanks to this new funding, the National Trust property is launching a new two-year project to explore the archive and make it more widely accessible to both the public and researchers alike. It will be shared through exhibitions, community engagement activities and online, as well as become available for local and family history study. The project will be delivered in partnership
with the Liverpool Records Office and has been primarily funded by the National Trust and the Archives Revealed programme, which is supported by The National Archives, The Pilgrim Trust and the Wolfson Foundation. “Photography is an exceptionally accessible medium, without barriers to language or culture,” said Andrew Morrison, the National Trust’s Lead Curator and project sponsor. “We think Hardman’s work will be relevant and interesting to many people, including new audiences who will be able to use his photographs as an entry point to exploring their own links with the past.” “We are so grateful to Archives Revealed and the National Trust for this funding which will enable us to finally catalogue and conserve this important collection and start sharing its secrets with a wider
audience.” Recruitment for an Archivist and Digitisation Conservator will shortly be going live and anyone with significant experience in these areas are encouraged to keep an eye on www.nationaltrustjobs. org.uk/jobs/ Members of the public can discover more about the story of the Hardmans by booking onto a guided tour of the property between Wednesday-Saturday, 11am3.30pm. Time is off the essence to explore this time capsule of 1950s life though, as doors close on 26 October until it reopens for visitors again next spring.
Find the latest news & more on these articles at www.artinliverpool.com
Artists and studio groups across Liverpool Irish Festival returns with 10 days of Liverpool will music, theatre, performance and art open their doors to visitors on Saturday 12th October 2019 A week of Irish stories arrives in Liverpool as the city’s Liverpool Irish Festival returns from Thurs 17-Sun 27 Oct 2019. The theme of the festival this year is unique stories, creatively told, and the ten day long arts and culture festival welcomes musicians, artists, performers, writers, dances, historians and more to tell the tale of their Liverpool irish stories. Held annually at venues across Liverpool, the programme includes music, performance, dance, tours, visual art and more. This year’s festival will include music by Jack Lukeman, Lisa O’Neill, Maz O’Connor, Kilkelly, Sue Rynhart, with a special festival preview performance at Liverpool Philharmonic Hall by Christy Moore.
this year the programme features dual-heritage, race, identity, class, food and more. In the Window – Rory Shearer
The Bluecoat Display Centre present ceramicist Rory Shearer (Derry) for their monthly In the Window feature as part of #LIF2019. Celtic Animation Film Festival The theme for this year’s Celtic Anmation Film Festival is women in animation and content focusing on women’s issues.
Festival programme highlights …
and more to be announced
In:Visible Women at Tate Exchange at Tate Liverpool, Mon 14 Oct – Sun 20 Oct, 11-2pm daily. FREE
In:Visible Women is an annual strand of work at Liverpool Irish Festival bringing together artists, academics, activists, audiences and communities to provide a platform to share stories about women in Irish society and creativity. With a week-long programme at Tate exchange,
The full programme is available at https://www. liverpoolirishfestival.com/events/invisible-womenweek/
image: Road Studios, credit, Rob Flynn
It’s the 4th Liverpool Open Studios (LOST19). Highlights for 2019 include all three artist-led galleries and studio complexes in the Northern Lights building in the Baltic Triangle. The Royal Standard, ROAD and Hub Studios are open to visitors in your unique chance to meet some of the city's leading contemporary artists. LOST19 will also feature for the first time access to Bluecoat artists' studios, Paul Mellor in the former George Henry Lee building and a new studio concept in Anfield from Dead Pigeon Gallery. Artists across the city from Arena Studios, Bridewell Studios, DoES, MAKE, street art specialists Zap Graffiti plus many others - will also open for just one day this year in this rare opportunity to discover the spaces that inspire the making of art. Visit the website at www.lo-st-uk to plan your day on Saturday 12 October as opening times vary by studio. Keep updated by following the event on social media via the #LOST19 hashtag. Entry to all participating artists’ studios is FREE. LOST19 is an entirely artist-led open studio event, in association with Art in Liverpool. TWITTER @LivOpenStudios INSTAGRAM @livopenstudios
WHAT’S ON > CURRENT EXHIBITIONS Paul Romano, the Nature of Reality Editions Ltd
Shezad Dawood: Leviathan Bluecoat
Nahem Shoa: Black Presence The Atkinson
We Are Kirkby Kirkby Gallery
Current Exhibitions Grace Ndiritu: The Ark Bluecoat, until 13th October The Ark archival materials will serve as a foundation for an exhibition dealing with differing ideas of viewing the world through the lens of both postmodernism and modernism.
Metropolis dot-art, until 12th October Susan Finch and John Charles, focus on depicting urban landscapes, specifically Merseyside. The metropolis serves as a centre for work, play and education.
Made on Merseyside Kirkby Gallery, until 16th November Developed from Prescot Museum’s collection, with additions from the ARK at Knowsley Archives, National Museums Liverpool, and personal collections.
Keith Haring Tate Liverpool, until 10th November Bringing together some 70 works, the exhibition evokes the vibrant energy of 1980s New York art and street culture that Haring embraced and reflected. --
-Shezad Dawood: Leviathan Bluecoat, until 13th October Presented alongside paintings, resin sculpture, and woven textiles, Leviathan follows migratory patterns between Europe and Africa. -Jane Adam Solo Bluecoat Display Centre, until 26th October Internationally recognised jeweller Jane Adam’s solo exhibition is a highlight of the Display Centre’s 60 year anniversary programme.
Paul Romano, the Nature of Reality Editions Ltd., until 13th October Paul’s work is an abstraction of the environment that surrounds often incorporating symbolic references from the ancient world. -Real Work FACT, until 6th October Continuing FACT’s year-long exploration into issues of identity and representation, the exhibition highlights the often unheard voices of real people working in precarious situations across the globe.
Dead Pigeon Gallery: A Little Painting Show The Office of Dan Carden MP, until 1st November A Little Painting Show is an exhibition of little paintings. Dead Pigeon Gallery is a travelling Gallery run by artist Jayne Lawless and designer Catherine Dalton that hosts exhibitions in unexpected places. -Double Fantasy – John & Yoko Museum of Liverpool, until 3rd November Celebrating the meeting of two of the world’s most creative artists who expressed their deep and powerful love for one another through their art.
-Burst! Our Bubble Convenience Gallery, until 14th October A selection of work by recent LJMU graduates. The exhibition takes place in both The Dark Side Art Lab (CH41 1LJ) and Convenience Gallery (Birkenhead Market)
-We Are Kirkby Kirkby Gallery, until 16th November Two 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.
Sol Calero: El Autobús Tate Liverpool, until 10th November Listen out for bus announcements, which promise to take you to destinations that can never be reached. -Who Wants to Live Forever? Tate Exchange: Tate Liverpool, until 6th October Who Wants to Live Forever? tells the incredible story of Henrietta Lacks through art, science, storytelling and documentation -Nahem Shoa: Black Presence The Atkinson, until 23rd November 2019 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 Metropolis dot-art
Who Wants to Live Forever? Tate Exchange
Distinctly Williamson Art Gallery & Museum
Women of Iron Williamson Art Gallery & Museum
Westwood The Atkinson, until 28th March Drawn from Vivienne Westwood fan Malcolm Garrett’s personal collection, the exhibition looks back at her designs and campaigns. -Before Egypt Victoria Gallery & Museum, until 31st October Before Egypt delves into the prehistoric past of Egypt and Nubia, to explore the ways in which early art, culture and politics were influenced by the unique geography of the Nile Valley.
Distinctly Williamson Art Gallery & Museum, until 24th November A unique approach to the depiction of Britain as seen through the eyes of twelve of the most significant and impactful photographers working in Britain over the last six decades. -Women of Iron Williamson Art Gallery & Museum, until 24th November This project has captured the female workforce in Cammell Laird Shipyard during the summer of 2019.
--Something Borrowed, Something New – Ian Irvine vs the VG&M Victoria Gallery & Museum, until 19th October 2019 Artist Ian Irvine applies a subversive, contemporary twist to the VG&M’s collection of historic paintings. --
Christian Furr: A Retrospective Williamson Art Gallery & Museum, until 24th November The internationally renowned, Wirral-born, artist is returning for the first retrospective of his work. .
WHAT’S ON > COMING SOON Alexis Teplin Bluecoat
you feel me_ FACT
HIV: An Active Solution Tate Exchange
Taki Katei, Japanese Drawings World Museum
Taki Katei, Japanese Drawings World Museum, 4th October – 13th April 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.
Talks, Tours & TALK: Leviathan Public Programme: Methods for Surviving the future Bluecoat, 2nd October, 6:30pm Professor Lars Schmeink, Nicole Prandi and Natasha Josette will explore how we might adapt to the future.
Dead Pigeon Gallery: In a Little Terraced House Homebaked CLT, 11th-14th October An exhibition celebrating the wealth of art and artists that have weaved in and out of Homebaked since its inception in 2011.
Alexis Teplin Bluecoat, 31st October – 29th February Teplin’s work crosses between painting, performance and film. The artist draws parallels between the process of these art forms.
Waste of Our World Rathbone Studio, 5th-30th October Seventeen artists from around the region reflect on the consequence of not addressing the exploitation and use of the World’s resources.
HIV: An Active Solution Tate Exchange: Tate Liverpool, 21st-27th October Led by artist Joseph Cotgrave this exhibition will inspire new and accessible ways of rethinking HIV; its stigma, prevention and transmission.
you feel me_ FACT, 1st November – 23rd February you feel me_ invites visitors to an alternative world: a mystical space free from division and bias and a sanctuary for healing.
PERFORMANCE: LEAP 2019: Motionhouse: Wild Constellations, 3rd October, 7pm The performance explores our disconnect with the natural environment and asks if, in our increasingly urban lives, the wild is still shaping our behaviour?
. Five Pound Poster Party CBS Gallery, 10th October, 6-9pm A fundraiser party for local charity Moving On With Life & Learning. --
An English lady’s wardrobe Walker Art Gallery, 25th October – 1st March More than 70 outfits exploring shopping and style in Liverpool during the interwar years. --
-PERFORMANCE: LEAP 2019: New Art Club, Cupid’s Revenge Unity Theatre, 4th October, 8pm A joyful, physical and verbal outburst against the forces that masquerade as love. --
Find FULL listings and events information at www.artinliverpool.com LEAP 2019: Motionhouse: Wild Constellations
Annual Gardner-Medwin Lecture 2019 Bluecoat Display Centre,
LEAP 2019: Frances Disley: Tripleflex Bluecoat
LOOK Photo Biennial Launch Open Eye Gallery
PERFORMANCE: LEAP 2019: LEAP Scratch Night Unity Theatre, 5th October, 7pm Join MDI for an evening of new and experimental dance work from some of the most exciting artists working in the UK.
PERFORMANCE: LEAP 2019: Neon Dance: Puzzlecreature Invisible Wind Factory, 7th October, 7:30pm Step inside a unique, inflatable, immersive environment within the Invisible Wind Factory, shared by both audience and performers…
PERFORMANCE: LEAP 2019: Alexandra Hemsley and Seke Chimutengwende: Black Holes Unity Theatre, 5th October, 8pm Weaving together poetic text and movement, two artists retell the history of the universe, from the big bang through to the universe’s death.
PERFORMANCE: LEAP 2019: Rosie Kay Dance Company: Fantasia Capstone Theatre, 8th October, 8pm In Fantasia, the Commonwealth Games Handover Ceremony choreographer takes ballet and tutus into the 21st Century.
PERFORMANCE: LEAP 2019: Thick & Tight on The Edge The Arts Centre, 9th October, 7:30pm Award-winning dance duo Thick & Tight (Daniel Hay-Gordon and Eleanor Perry) preview an evening of three new works for LEAP Festival.
NETWORK: Art Social OUTPUT gallery, 13th October, 6pm OUTPUT gallery exists to support the development, mobility and visibility of the local art scene in Merseyside.
PERFORMANCE: LEAP 2019: Community Dance Platform Capstone Theatre, 6th October, 5pm Where the artists of tomorrow are made. MDI’s annual celebration of the wealth of talent across Merseyside returns as part of LEAP 2019. --
TOUR: Guided Visit: British Ceramics Biennial 2019 Bluecoat Display Centre, 10th October, 8:45am A day trip to British Ceramics Biennial 2019. This launched in 2009 and showcases contemporary ceramics from around the world.
TALK: We The Youth – Keith Haring’s New York Nightlife by Dave Haslam Tate Liverpool, 16th October, 7pm Discover the music and culture that inspired Keith Haring at this special event with DJ and writer Dave Haslam
TALK: Annual Gardner-Medwin Lecture 2019 given by Jane Adam Bluecoat Display Centre, 17th October, 2pm This year’s Gardner-Medwin Lecture will be delivered by the jeweller Jane Adam on Thursday 17th October, from 2 – 4pm.
PERFORMANCE: LEAP 2019: Frances Disley: Tripleflex Bluecoat, 10th October, 11am-8pm Merging visual art and dance, Liverpoolbased artist Frances Disley presents a new immersive installation activated by three contemporary dance artists. --
-LAUNCH: LOOK Photo Biennial Launch Open Eye Gallery, 17th October, 6-8pm Constellations, 17th October, 8pm-late Focusing on exchange with China, LOOK Photo Biennial 2019 uses the evolving language of photography to unlock international dialogue. .
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 email@example.com
JOBS Director’s PA and Office Manager, Liverpool Biennial Liverpool Biennial is looking for an experienced Director’s PA and Office Manager to join the team. This role provides an excellent opportunity to be part of an open, proactive and agile team, delivering outstanding contemporary art in one of the world’s most vibrant and illustrious cities. DEADLINE: 2nd October 2019 -Head of Communications and External Affairs, Royal Liverpool Philharmonic The role will be developing and implementing our communications strategy, across all areas of our organisation, locally, nationally and internationally, identifying and maximising key opportunities aligned with our strategic plan, in conjunction with key internal and external stakeholders. DEADLINE: 7th October 2019 -Digitisation Conservator, the National Trust National Trust are looking for a Digitisation Conservator to join the team on a two-year fixed-term basis at The Hardman’s House, if you have experience in photographic and paper-based conservation they’d love to hear from you. DEADLINE: 1st October 2019 --
Archivist, the National Trust The aim of the project is to organise, catalogue, rehouse and make accessible the Edward Chambre Hardman Photographic Collection housed at Liverpool Records Office. DEADLINE: 1st October 2019
Partnerships Director, Cheshire Dance (Dance Consortia North West) Cheshire Dance, on behalf of Dance Consortia North West (DCNW), wants to appoint an insightful and highly motivated dance professional experienced in building strong, trusting partnerships. DEADLINE: 16th October 2019
--Events Officer (part-time), Halle Concerts Society The Events Officer post serves to actively support and participate in the events delivered as part of the Hallé’s fundraising function. The role will lead on all administrative and delivery tasks related to the stewardship and development of the busy events calendar. DEADLINE: 14th October 2019 -Head of Production, Theatre by the Lake Theatre by the Lake is seeking to appoint a Head of Production to be responsible for the effective staging of all productions on Theatre by the Lake’s stages, with coproducers, and on tour. DEADLINE: 4th October 2019 --
General Manager, Islington Mill Islington Mill Arts Club is a wellestablished artist-led CIC providing affordable studio, venue and educational provision for the culture sector from its former textile mill in Salford. DEADLINE: 18th October 2019 -Projects Coordinator, Islington Mill The Projects Coordinator will play a lead role in the successful delivery of Mill programmes, monitoring and evaluation and the development of new audiences. DEADLINE: 18th October 2019 .
CALLS Trustees for UK’s longest running LGBT+ Arts and Cultural Festival – Homotopia Homotopia is the UK’s longest running and best-known LGBTQ+ arts and cultural organisation. In the last 3 years changes to our staffing structure have granted the organisation an opportunity to revise and modernise this small but ambitious organisation. DEADLINE: 25th October 2019
Chaiya Art Awards – Open Art Call, £10K Top Prize The Chaiya Art Awards is open to any artist and covers all mediums including painting, drawing, sculpture, ceramics, glass, textiles, mixed media, photography and video with a top prize of £10,000. DEADLINE: 18th October 2018
Older Artist Commission – The Whitworth The Whitworth is looking for an older (50+) artist from any discipline to help us to rethink the position of older artists in our society and shape our organizational approach to working with older emerging artists. DEADLINE: 7th October 2019
Book Opportunity for 50 Female Artists - WOMEN: Inspiring Quotes & Artistic Responses 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 2019
LightNight 2020 Commissions – Home We are looking for new works on the theme of ‘Home’ 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 2019
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 2019
Rowan View art commission – Artist brief and application, Mersey Care Mersey Care NHS Foundation Trust (Mersey Care) is calling for applications from experienced and suitably qualified artists/artist teams for the commission of a coherent series of artistic pieces at a new mental health facility, Rowan View in Maghull DEADLINE: 11th October 2019
SAT 12 OCT ARTIST OPEN STUDIOS 100+ ARTISTS, VENUES ACROSS LIVERPOOL
for full event listings and to plan your day, visit www.lo-st.uk
Second or Other Language An informal ESOL group discovering art and creative practices in Liverpool.
SOL (Second or Other Language) is a programme of language learning and visual art, aimed at refugees, asylum seekers and vulnerable migrants in Liverpool. The course:
- informal English language sessions - creative workshops - gallery trips - exhibition opportunities - getting to know Liverpoolâ€™s art
- Listening to Seldom Heard Voices - Exhibitions, publications, and uncovering new cultural links
Weekly sessions, every Monday from 2-5pm at Tate Liverpool
Register for a free place: email firstname.lastname@example.org Project produced by
Funded by: in partnership with:
News, Reviews & What’s On. Your monthly update on visual art in the Liverpool City Region
Published on Oct 1, 2019
News, Reviews & What’s On. Your monthly update on visual art in the Liverpool City Region