Art in Liverpool Magazine, issue #23, August 2021

Issue #23 - August 2021 News, Reviews & Listings for visual art in Halton, Knowsley, Liverpool, Sefton, St Helens and Wirral.

Cover image: Jessica El Mal, Grounds for Concern. Part of Liverpool Arab Arts Festival 2020. image courtesy of the Artist & LAAF

Art in Liverpool, issue #23, August 2021 Editorial: This is the first issue we’ve printed since the start of the pandemic. I don’t really know where to start on explaining why, but I’ll give it a go because the parallels between our experience and that of our friends and colleagues working in the arts over the last year have been pretty similar. It’s important to share the reality of that time.

That in combination with the postponement, meant shifting a four year programme back, and relying on the hope of emergency funding. We were lucky enough to get our emergency grant, but others weren’t. The knock on effect of postponement was that the artists confirmed for Independents Biennial didn’t have their commission. They did get it in full in March 2021, but First though, I want to say to new the events leading to that meant that readers. We’re printing more this Art in Liverpool and all the artists month, and hopefully every month and freelancers we worked with, going forward. If you’ve not come bar two, had a big chunk of income across Art in Liverpool before, taken away for a full year. we’ve been going as a website since 2004, and started printing in 2018. By July 2020 we’d gotten used to The point of this newspaper is to not printing a paper, and fairly used give monthly updates on everything to having limited news to share, happening in Merseyside’s art world, other than digital festivals. to anyone who has even the slightest In September we thought there was interest in it. a chance to print again, galleries Back on track. In February 2020 we briefly opened up and we started knew something was happening, publishing weekly email newsletters and we were clearly headed for a again. But then lockdown 2 hit us. lockdown. In March it happened, So that went on hold. so we cancelled our print run, knowing nowhere was going to I’ve been told not to put this out be open to pick the paper up from. there, but I think it’s important.

We considered postal news, but our This newspaper is paid for by the budget didn’t stretch. We considered advertisers – most of which are online pushes, but there were so partners on other projects, and many cancelled exhibitions that galleries we’re humbled to work with every day – but a year out means there was very little to write about. we’re about £16,000 down, even Then, in April, it was decided that with Independents Biennial. And both Independents Biennial (our core that’s not factoring in other projects production project) and Liverpool we were hoping to have launched Biennial were being postponed. Not by now which have been either only that, but funding that was as postponed or cancelled altogether. yet undecided was being moved into another Arts Council Budget, so we If we’re £16,000 down (which is had no control over our funding for about 1/3 of our turnover to put that in context) and still managed a full the next twelve months.

Art in Liverpool magazine is a monthly newspaper and calendar about visual art in the Liverpool City Region / 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

biennial, I’m incredibly worried for other organisations, especially those without buildings or who work from home. Organisations who are set up as limited companies, or C.I.C.s whose directors have been either ineligible for support, or unable to take advantage of furlough. Those who have “fallen through the net”.

The net we keep getting comforted by has missed so many, and still feels bitter, given it was created for a purpose it wasn’t fit for.

With all that said, there is a slim chance that July 2021 marks the end of lockdowns, if not the danger of infection, so it’s financially possible to be an artist, and run projects again.

There is a sense of starting again with a clean slate. Not by choice, but still a fresh start is a useful prospect for many. But if that start isn’t met with a fresh start from funders, local authorities, and major sector support organisations, we will end up back where we were; with artists earning £6k a year, studios existing without heating and core funding being a dream rather than a goal.

There’s an opportunity for change, but it will take effort rather than time to achieve. I’m hopeful, because I know there are people in high place with a desire to skew funding in favour of artists, but for now, we’re where we were.

I can’t quite tell if that was a rant, or if it was useful. But if we stop talking about the financial strain of the small organisations who represent most of the sector, it will be forgotten.

Issue #23, August 2021: Editor: Patrick KirkSmith Contributors: / Lorraine Bacchus + Kathryn Wainwright All advertising, sponsorship, distribution & event enquiries should be sent to info@artinliverpool.com / Art in Liverpool C.I.C. / Company No. 10871320

Review: Jessica El Mal, Grounds for Concern (Liverpool Arab Arts Festival)

international border policed for human trafficking, illegal movement of goods and (as every international sea border fumbles with) fishing boundaries.

I’m not sure if Jessica El Mal intended for her work to be funny or dryly satirical, Finally finding a chance to find Liverpool but I laughed aloud at the Rugulopterix Arab Arts Festival’s installation at Mann Okamurae Algae’s ability to cross police Island was a thrill. Not just because lines undetected, and wreak havoc on the seeing art in person is rare right now, coast of Southern Spain. but because this is the first time I’ve seen a 2D work installed by itself at Mann It’s a really light hearted way to tackle a serious issue, without diminishing the Island. challenges of necessary human migration.

The space lends itself to ambitious Given that humans are the most destructive installations where people can interact with organisms on the planet, the fact we the work in physical ways, and it was an concern ourselves with borders is slightly unexpected use of that vast atrium to have insane. We manage budgets based on two works hung on a wall between Open border the flora and fauna of the world have Eye Gallery and RIBA North. no concept of, which leads to surveys on the natural world that separate migratory The digitally printed chiffon works by patterns of birds and fish based on which Jessica El Mal skews and dissects the man made borders they travel through. sea border of the Strait of Gibraltar, an

In the context of LAAF the fabric hangings, Grounds for Concern, raise questions over how and why we concern ourselves with human migration, and why there is any stigma attached.

Paring back the display to two panels from the usual interactive installations audiences travel through in the Mann Island atrium draws you in as the only work in an otherwise barren space, pulling you to a corner of the venue with views through to the docks, and all the history of human migration held there.

-Words, Kathryn Wainwright Liverpool Arab Arts Festival continues until 14th November 2021 The full programme can be found at www.arabartsfestival.com

Review: Lucian Freud & Louise Bourgeois at Tate Liverpool Lucian Freud and Louise Bourgeois are two artists you can’t easily pair together. The adjoining exhibitions at Tate Liverpool confirm that. As always at Tate, exhibitions come in groups, paired by coincidence more than theme, and in this case the contrast between the two headline artists is inescapable.

Louise Bourgeois’ Artist Room couldn’t feel further detached from the Lucian Freud exhibition, in theme, tone or presence. Both are brilliant exhibitions, but there is a bizarre disparity between

them, emphasised by their quiet, subdued, self-doubting, parallel rooms, and parallel dates. and self-reflective, as a significant voice towards modern Freud is the main attraction, being understandings of mental one of the most famous artists of health. While Freud enjoyed the the last century, but the unfiltered spotlight and sweated confidence personal history shared alongside out of every pore, increasingly the images leaves a bitter taste believing in his opinion as his of abuses of power, misogyny, career unfolded. and general unpleasantness.

It’s a revealing insight into not Stories of sitters’ discomfort just Freud, but the art world he and unease seem to eat into his inhabited until recently. work, which captures them at their most vulnerable in almost Bourgeois existed as an artist all of his portrait. Those sitters through parallel years, exhibiting are scrutinised, and given rules, in similar galleries throughout a while for Bourgeois, her most career which had a fairly similar regular sitter is a friend and trajectory to Freud. Both born in respected colleague. the early 1900’s, both died in the early 2010s. Both born important If these exhibitions are just seen surreal modernists, skewing as reflections on the lives of the figurative works, underpinned by artists, they are a fascinating clearly evidenced observational history, but I’m dumbing it skills. Yet Bourgeois’ story is down too much by pitching these

shows as biography. With each, but mostly Freud, they are a true exploration of the work, styles and shifts in focus through his years. I’ve had a limited view of Freud until now, expecting rooms full of expressive portraiture, so the delicate illustrations and still lives are a new side to the artist.

The pairing is an assault on the senses, and both exhibitions are guaranteed to inspire further exploration in their audiences.

-Words, Patrick Kirk-Smith Louise Borgeois in Focus, and Lucian Freud: Real Lives continue at Tate Liverpool until 16th January 2022

Review: Aliza Nisenbaum at Tate Liverpool

many of which, by the time this exhibition was hung in December, had not seen their families for seven months. The show feels like an archive, not Travelling to Tate Liverpool on just of their work, but of an Tuesday 20th July 2021 to see artist’s gratitude. In years to a show I’ve wanted to see since come there will be photography its launch last year was a nervy archives held all over the world, experience. Aliza Nisenbaum’s all maintaining the emotion of paintings of key workers began the moment, but few will have early in the pandemic, and the power of this show, which share clear stories of dedication, goes beyond documentary in a way that shares character rather recovery and resilience. than just situation.

So the day after lockdown lifting, travelling on a largely unmasked Portraiture can often fall in to train, and through a mostly the trapping question of “would unmasked city centre to an a photo not have sufficed?” exhibition marking the sacrifices but the emotional response of those who have kept the city of the artist here is absolutely key. Photography is capable of ticking over was unsettling. framing subjects, and lighting But it made the experience them to the artists’ wishes, but more poignant somehow; Aliza Nisembaum’s reading of more relevant to the current her sitters is uniquely hers. I’m conversation around individual not a fan of ‘painterly’ it’s lazy responsibility. Everyone in the terminology, but the distinct gallery was masked. I don’t colour choices add a tone to the know if other visitors stuck to collective portraits which are that through the rest of their day, unique to what is, on the face of but here it seemed like a mark of it, quite traditional portraiture. respect from the viewer to the The group portraits, created subject. through interviews and The portraits are of key workers,

conversations with the sitters, seem more like landscapes (not just because of their orientation).

They have a history to them that seems vast, despite the pace of production.

Part of the power of this show is in the films though. The paintings are intense, condensed results of a process. The films invite you into Aliza Nisenbaum’s studio, and into the emotional and, at times, light hearted conversations with her sitters. Having a chance to see this part of the process heightens the importance of the key workers, and clarifies their individuality. These aren’t part of a brand of key workers, they are people who have made huge sacrifices to keep us going.

This show isn’t a clap on a doorstep. It’s a human response and a personal thank you from an artist who clearly cares, and knows exactly what she owes the key workers who sat for her.

-Words, Patrick Kirk-Smith Aliza Nisenbaum continues at Tate Liverpool until 5th Sept ‘21

N ew s

works critique notions of the body, beauty, race and identity in contemporary society through the lens of Black children in the USA. Her works on paper and on canvas combine found images, sourced from the internet, with hand-painted details in striking compositions that invite viewers to look closely, to see through the layers. In addition to Deborah Roberts to representational imagery, the artist show at the Bluecoat, also makes text works in which she words in ways that expose Liverpool October 2021 juxtaposes racism and racial biases entrenched The Bluecoat, Liverpool is in language and linguistic systems. delighted to be hosting a major Roberts’ work is held in several exhibition by award-winning US collections in US based galleries based artist Deborah Roberts and in the UK, but this is the first (Austin, Texas, 1962). The significant showing of her work exhibition, Roberts’ first major in Europe, and includes both her UK solo exhibition, launches text works and figurative collage. on Friday 15 October 2021 and Roberts’solo exhibition will premiere brings together new and recent alongside a solo presentation by UK work from the past five years. artist Rosa Johan Uddoh (born 1993, Combining collage with mixed Croydon). Both exhibitions will be media, Deborah Roberts’ figurative open October 2021 – January 2022.

Deborah Roberts writes: “I am very excited to be exhibiting at the Bluecoat in Liverpool this year. This being my first institutional show in Europe, my hope is to engage

with new audiences and different communities and continue to explore how art can challenge notions of race, beauty and culture.”

Christie’s, which exhibits this major artwork by Degas at centre stage within the gallery. Providing a historical context to the work, it will be shown alongside the internationally touring exhibition on loan from the Ashmolean Museum.

While the wider Ashmolean exhibition explores the Impressionists characteristic depiction of modern life of the city, portraits and landscape, Degas’s masterpiece presents an intriguing domestic scene offering the opportunity to explore ideas around portraiture and the role of women in art.

Cézanne, Degas, and Renoir are coming to Kirkby in 2022

as the Liverpool City Region Borough of Culture in 2022.

From 10 October – 17 December 2022 visitors have the opportunity Kirkby Gallery is set to present to see artworks from the collections the work of world-renowned of two internationally recognised art artists including Cézanne, Degas, institutions for free. and Renoir in the gallery’s most The National Gallery Masterpiece ambitious exhibition to date.

Tour presents Hélène Rouart in her The display will be a key part of Father’s Study, 1886 a large-scale Knowsley’s year-long celebrations oil painting by Degas and one of

the most important paintings in the National Gallery’s collection. The work will be shown at the same time as an internationally touring exhibition from Oxford’s Ashmolean Museum, Making an Impression: Prints by Manet, Pissarro and their Contemporaries.

Kirkby Gallery has been selected as one of only three venues across the UK to display The National Gallery Masterpiece Tour, sponsored by

Made up of 34 prints, artists featured in Making an Impression include Mary Cassatt (1844 – 1926), Paul Cézanne (1839 – 1906), Camille Pissarro (1830–1903), and PierreAuguste Renoir (1841 – 1919).

Kirkby Gallery’s display seeks to explain the fascinating connections between Degas and the featured Impressionists, which will serve to explain their artistic practice and both their personal and professional relationships.

National Museums Liverpool’s House of Memories goes On The Road When you can’t get to the museum, this museum comes to you.

The sights, sounds and smells of springs and summers past will arrive in the heart of Liverpool’s communities from Wednesday 23 June, 2021. And some of the city’s most vulnerable and socially isolated people will be the first in the UK to enjoy this innovative immersive mobile museum experience on their doorsteps, in community spaces, car parks and at care homes.

With museum doors all over the country closed more often than they’ve been open in the past 12 months due to Covid-19 lockdown, House of Memories On The Road offers the next stage in the world-

Turner Prize returns to Tate Liverpool in 2022

leading dementia awareness virtual “front door” to NML. Each programme led by National individual’s intimate and immersive mobile museum experience will Museums Liverpool (NML). last around 10-15 minutes, offering Setting a new standard in museum access to experiences proven to accessibility, the House of Memories make a real difference to quality of On The Road experience is a

life. Experiences will range from a trip on Liverpool’s overhead railway and a visit to a 1950s grocery store to a virtual day out at the seaside or a forest.

Tate Liverpool presents new commission Emily Speed: Flatland

and how they occupy their own psychological space.

Established in 1984, it is awarded to a British artist for an outstanding exhibition or other presentation of their work. Tate Liverpool was the Tate Liverpool will host the Turner first gallery outside London to host Prize in 2022, marking a return to this prestigious prize in 2007 when the city for one of the world’s bestit helped launch the city’s year as known art prizes for the first time European Capital of Culture. in 15 years.

An independent jury will announce Opening in October 2022, the Turner a shortlist of artists in May 2022 and Prize is Tate’s annual celebration following the exhibition’s opening, a of British artistic talent. It aims to winner will be selected on the day of promote public debate around new the awards ceremony in December. developments in contemporary British art.

This autumn, Tate Liverpool will present a new film installation by artist Emily Speed as the inaugural Art North West commission. Flatland uses set design, choreography and costume to depict flattened hierarchies and close-knit community structures.

Known for her work examining relationships between people and architecture, Speed’s practice considers how people are shaped by the buildings they have occupied

Flatland follows a community of women for the duration of one day, conceived of as 12 short scenes that follow a traditional pantomime structure that provides familiarity and predictability, but with a focus on cooperation, support and joy. The centrepiece of the film is a portable stage set, inspired by Speed’s local village pantomime and manually operated Japanese kabuki theatre sets, that functions at times like the pages of a book, folding and changing in different directions.

theatkinson.co.uk 01704 533 333

Exhibitions Natural High 19 June 2021 – 19 March 2022

The Atkinson Lord Street Southport PR8 1DB

Free Entry

Paul Kenny: Seaworks

Reconnect with nature in this contemplative exhibition of British landscape scenery as we follow in the footsteps of artists from the early 19th century to the present day.

26 June – 23 October 2021

Courage & Devotion

Red Rum

26 June 2021 – 12 March 2022

The regular sight of Red Rum training on the Southport sands thrilled many a local resident, this exhibition hopes to capture some of that magic as we tell his unique story.

This exhibition remembers the lives of the Polish Airmen based at RAF Woodvale, the iconic Spitfire and some of the stories associated with the area during WW2.

Captain Pugwash & Friends: The TV and book creations of John Ryan 31 July – 28 December 2021 Did you know that Captain Pugwash’s ship The Black Pig first set sail in Southport?... The bumbling pirate captain first appeared in the early editions of the Eagle comic.

Working without a camera, Paul Kenny creates abstract compositions on small glass plates with objects found on beaches and crystallised sea water.

3 July – 30 October 2021

The Landing: Flavours 7 August – 4 September 2021 Three local artists are linked through their personal use of colour in this new exhibition from Carole Dawber, Caroline Kaye & Lisa Langan.

Selected artworks are available to purchase.

Review: John Moores Painting Prize 2020 John Moores Painting Prize 2020 holds on to its planned year in the title, despite postponement. Thankfully, that’s the only reminder of the year we’ve had.

JMPP is a haven from the world in so many ways, whether that’s travelling into the utopias/dystopias created by this year’s artists, or stepping back in time to see a show designed for July last year, presented almost exactly as it would have been.

It’s noticeable that none of the work reference the pandemic in any way, because almost every other programme for the last twelve months has had some sort of nod to current affairs, but the artists here have been waiting a long time to show work they submitted over 18 months ago. But a haven is a haven, regardless of the news.

Unusually for JMPP work is split into

broad categories for exhibition, with urban spaces shared in one room, rural spaces in another, human condition in a third, and material play in a fourth. It heightened the experience of the show, particularly considering how reflective of the present moment of painting the prize has been over its 64 years.

with landscape and still-life healthily represented, but with working spanning over monochrome, to triptychs, to generously glazed canvases. But for all of the artists looking at rural space and plant life, their dedication to subject beyond beauty is clear.

It’s one place where JMPP, or any other The splitting of subject makes the trends group exhibition in this format, falls down. in British painting massively apparent, and You can never really get to know an artist what’s surprising is the amount of material and their work at first viewing, because play. 2018’s winner, Jaqui Hallum, was it’s quite rare for any one painting to be one of the most experimental paintings to produced in isolation. There’s no narrative ever win the award, so whether the judging provided for the works without putting in panel had started giving more weight to the leg work and getting to know the artists, paintings in that area, or whether there so you’re pretty much stuck with what’s in have been more entries using materials front of you. Thankfully, what’s in front of play is unclear. But the works on fabric, the you with JMPP this year is outstanding. printed work, trompe d’loeil, and multidisciplinary works are a powerful indicator -of a return to more traditional methods.

Words, Patrick Kirk-Smith There more expected works take JMPP exhibition at Walker Art Gallery is more challenging physical forms too, now closed

Independents Biennial 2021, in hindsight

Their ideas thrived at the expense of scale and physical product, which meant their ideas could be translated better for audiences, which meant I’ve never enjoyed a project more their commission was channelled than this year’s Independents into development rather than Biennial. I’ve also never hated one production. more.

Internally, this year’s programme Looking back it seems ridiculous that was a dream come true. Externally, we produced a digital festival, a year there were ups and downs. into a pandemic, when everyone was sick of digital festivals, when we I don’t believe in social media as could have just done that same thing a replacement for gallery space. in July 2020. The obvious block on It serves different purposes and that was that we lost our funding reaches limited audiences. Yes, for the July edition as it was moved you can reach people on Facebook, to the Emergency Response Fund, but the engagement while high, is so it’s a critique of something that fleeting. You can reach thousands couldn’t be fixed. But it does seem on Instagram, but again, the daft. Obviously when we postponed engagement is fleeting – slightly we thought we’d be doing that to more so than Facebook, with limited a time when we could have done true engagement, and a hefty trail of physical exhibitions, but that didn’t links to properly experience artists’ pan out. work. Twitter is bizarre. In theory you can reach more people, but the But knowing that couldn’t be white noise, and tendency for feeds changed; knowing how it was in to be filled with more content for 2018 when we worked with 500+ sifting than reading, means reach artists in 70+ venues; there has never figures are pretty hollow. Then you been a project I’ve worked on where find print – which worked well for us I’ve had the chance to get to know this year, reaching far more people artists as well as this. than expected, and clearing shelves Planning via Zoom, rather than coffee of newspapers incredibly quickly. shops and offices, in the middle of Utterly effective, but not without an emotionally charged pandemic, challenges.

And that sort of wipes away the understood flaws of all the platforms and breaks through. Somehow, on day one of the festival people just turned up to the website and spent hours working through the twisting narrative of the programme.

useful routes in to work, but the creation of Artist Hosts meant putting artists at the centre of the narrative, and with Harriet Burns in particular, at the centre of the critique.

I still don’t really know how that narrative fared, because, as is the nature of distant online audiences, you don’t get to speak to people as they experience the projects.

We launched with an unfinished programme, with the promise of sharing progress as projects were developed. That meant a lot of updates (I think it was about 150 posts, featuring 700ish new works).

The forced shift in festival output meant that the process was more inclusive, more shared, and more collaborative than Independents Biennial has ever been. When we return in 2023 almost every production method that formed Independents Biennial 2021 will be used, including:

But then the magic of Independents Biennial happens. We know audiences need it flanking Liverpool Biennial. It gives true context, and provides unfiltered regional voices.

If it weren’t for the pandemic, the bit of budget that created those roles would have been for paid invigilators. Obviously that’s better than volunteer invigilators, but both can be valuable in themselves, and

meant more honest exchanged, more inward criticism, and far more honesty. The work produced was comfortable for the artists, and within their goals, rather than ours.

Punches weren’t pulled.

• Artist Hosts • Panic • Honest conversation (not Looking back, the thing that settles related to work) my mind, knowing that it wouldn’t • Honest conversation have happened in 2020 was the (related to work) Artist Hosts – Matt Retallick, Ongoing & public Jo Mary Watson, Harriet Burns • evaluation and Elizabeth Challinor – who Residency / production following a rambling interview and •

based commissioning introduction process were tasked Giving artists control of with ‘creating something you • deadlines / ambitions wouldn’t otherwise have created if • Shared stresses / shared you hadn’t undertaken this project’.

Obviously, that is a loose proposal. successes Each of them took it in their own -direction, and created work, some of which remained entirely private and Words, Patrick Kirk-Smith even I did not, and will not, see.

(Director, Independents Biennial)

Year 4 students from St Anne’s Catholic Primary School respond to Independents Biennial 2021 The following texts are short articles written by year 5 students from St Anne’s Catholic Primary School in Wavertree responding to the work of Independents Biennial 2021 artists. The group have writing and concentration issues, but are incredible interpreters, with a unique ability to understand whatever is put in front of them.

At one point in the workshops, three students disappeared to make a den, but came back with short stories about their chosen image. Fidgeting, distraction and disruption are qualities that make great writers and great artists. Putting their wandering thoughts on paper is what proves it.

It’s also important to say; sometimes people just don’t like stuff.

Kareem was responding to Wood, Water, Rock by Feiyi Wen Find out more about her work at www.independentsbiennial.com/feiyi-wen

Khaled & Arafa were responding to ‘ad hoc’ by Fiona Sitrling Find out more about her work at www.independentsbiennial.com/fiona-stirling

Kayden & Caleb were responding to ‘Too Foreign’

by Montse Mosquera.

Find out more about her work at www.independentsbiennial.com/montse-mosquera

Kayden: I chose this picture because it reminds me of my memories of good times and bad times. The memories are like of when I was in Springland, my first day of school. Super Duper.

The first time I went to Super Duper, the first time I came to Liverpool, and church.

This picture shows me someone taking pictures of good things and good places. And keeping stories. This is why I chose the picture. Like, you can snap the sun, something that you will never see for like five years, take the picture to remember. Or forever even, take the picture. That’s why I chose this picture.

If I was going to choose five pictures that were my story, or that reminded me of good times and good places I would choose Springland, School, Super Duper, Liverpool and church, because I had so much fun at Springland. It was my first time going to a carnival, or something very big like that. It was so much fun.

I chose my first day of school because I didn’t have any friends and I was a bit shy, but I like it here.

I chose Super Duper, but they changed it to pound disco now. But Super Duper was about winning something. If you were being good and when you worked so hard so you won something for the first time.

And when I came to Liverpool I was taking a picture on a plane, on July the 1st, and that picture reminds of me of when I first came here, like the picture of a plane window in the newspaper.

I came from Nigeria too, so I would put a picture of the flag as well, to remind me where I came from.

And the last one was church, because I’ve never seen a place like it before.

My old church in Nigeria was a bit small, and St Anne’s Church in Liverpool is much bigger and it was humongous and so much fun.

Those pictures remind me of my memories, like the iPhone pictures in the newspaper.

Caleb: I chose this picture because I think it’s very nice, and it reminds me of YouTube stories. But I also chose this weird picture I found in the newspaper because the people texting were going to date.

The text message says “Let’s have a date on FaceTime then” or something like this? Why are they dating on FaceTime? What if someone joins it like I did when I found a random zoom?

I found a random zoom once by putting in numbers in the box and it took me to another school’s classroom.

So I don’t want to date on FaceTime.

I drew two faces of a man smiling, then a man being unhappy. Those men are why are FaceTime date could go wrong, because what if a man just joins it, eating his potato crisps and doing weird things, like showing him in the shower or in the bath, or drinking his lemonade?

I’d never do a FaceTime date. I don’t even talk to anyone on my tablet. I only talk to strangers. It’s very safe because I can call the police in one second. I don’t talk to anyone I know, but I would dial 999 if a stranger joined.

Kareem:

and Jerry, The Loony Toons and Mickey Mouse, but these are my I chose to write about this picture own characters. I just like drawing because I like the scenery – it’s a around stuff. Unless it gets me in trouble, but it keeps me calm. picture of a waterfall There were other pictures, of iPhones and chairs, but I chose this one because I could throw my enemies down it. I could throw my worst enemies and the people that were mean to me.

In the picture, I see water, trees, the mountains and the rocks and the grass around it. Rocks, rocks, rocks, everywhere. And then I can see the sky as well, but it’s all black and white like an old photo.

I’ve done loads of drawings around I think that its black and white the picture because I want to be because of the culture of the artist, an animator, and they could be in and I just think it’s really good. the scene. I like drawing around it because my favourite films are Tom

Khaled: I picked this picture because it’s great. It’s great because it’s interesting and it’s crap at the same time. But it’s scribbles so I do like it, and I’ve copied the picture too. My picture doesn’t look good, because it’s a scribble, but it’s like the one I copied. Because I didn’t like mine, I’ve drawn Mr Bestwick’s wig, which is all messed up, instead. I like that picture most.

Mr Bestwick’s wig

I don’t think my drawing, or the one by the artist is better or worse.

They’re both bad, because they don’t look finished and there’s no shading. How did the artist not get to finish it? It’s not finished, but it’s still too good to be one little mess up. There’s like a bull’s horn, and loads of old time fashion and clothes in it, but I don’t know why.

It’s a scribble like yesterday, when we said that scribbles help us focus, so even if it’s bad, it’s good.

If I could change it I would colour it in, and I would pay someone else to draw it but better, because I still don’t think I can draw.

Arafa: I drew a tiny man climbing on a chair like the picture in the newspaper, but my chair is bigger, and my man is smaller. I made a drawing about a tiny man climbing on a chair and he has dirty and smelly shoes. I drew his smelly shoes too at the top.

I don’t know why I think he has smelly shoes, but I made it up because the man looks messy.

I liked the picture because it’s just climbing on a chair. I wish I was a tiny person so I could destroy someone’s home. If I was, I’d use fire because I could fit everywhere.

I just liked the drawing, because it reminded me of my drawings. It’s a scribble, like we did yesterday.

Because its art and it’s not finished, and because it’s silly.

Critical (on Funding) Artists in the North West of England make less than the national average for artists, who make less than the national average for anyone. Artists, on average make about £16-20,000 per year. Around £6,000 of that is from their art practice, or work related to it. In the North West, most artists earn less than £5,000 from their practice.

An artist receiving a commission is usually offered a set rate. Say that rate is £1,000, the hours calculated by the commissioning gallery will be based on around £12 per hour (83 hours). That’s based on guidance from Artists Union England, Museums Association, and a-n (all suggested sources of guidance from Arts Council England.

Adversely, the curators and producers working with those artists (assuming they’ve been working in a similar role for five years or more) will be on about £16 per hour. The difference being that they’re full time, and their hours are prescribed. So in the two months leading to the commission exhibition, will receive £5k+, while the artist, working part time on the commission, likely working over prescribed hours, and with more pressure on them for the end product, will have worked fairly similar hours, for £1k – of which it is unlikely any went into a pension.

I’m not trying to scare anyone, and in no way am I suggesting art doesn’t pay. It can and it does, but it’s like any cultural sector, in that only a handful make ends meet through their practice. There are around 5000 artists in Merseyside. Each year, the 40 studios and galleries collectively pay around 150 of them.

Of the other 4850 artists, a decent number sell work which pays the bills, and for some is an entire and healthy income.

Music is similar, but for bands and musicians who play circuits it’s less stigmatised to not be part of a studio, so professionalism is judged in different ways, and success isn’t really monetised until you get your break.

Performance, again, is similar, but despite there being less performance spaces than visual arts spaces, it’s easier to monetise shows, so there’s an expectation to be paid for your output through ticket sales – not the case for artists.

For artists, they are increasingly expected to present their work for free as conceptualism builds momentum in its endeavour to sweep fine art under the rug.

So galleries show project based work, or temporary performance, and some of them will pay, but the independent spaces where artists test their work show products as exhibitions which are free to enter, unsponsored and unfunded.

So for artists presenting outside major galleries there’s no clear route to funding. There’s DYCP funding from Arts Council England, which every artist should be applying for, but in the few years that’s existed it’s only granted funding to a handful of Merseyside based artists. Their projects have been exceptional.

The fundamental problem with the system is that it values producers above artists. I write this as both. Knowing that I earn a standard wage as a producer, and less than £2k as an artist in a normal year. I’m fortunate that my production mirrors my practice in many ways, but for many, their wage is unrelated to their practice, and that takes time away from development.

As a minimum, hourly rates for producers and artists need to be equal. But the decision on how those artists work needs to be less prescriptive. Less expectant of already finished work at the point of selection, and allowance for production within budgets.

Review: Public Service Announcement, Alex Stone

Most artists ask themselves the question “what do I want to make work about?” When Alex Stone was invited to take part in this year’s Threshold Festival, it was in the midst of the first lockdown and having asked herself that question, her response was to focus on an aspect of the pandemic to which everyone could relate – that of hand washing. More specifically she wanted to humanise what she describes as the “barking” tone of the government’s instructions and to dignify what we were all doing: “The hand washing we are all complying with has been transformed from a personal act into one for communal protection.

I also wanted to make something that recognised how, for a lot of people, the solitary washing of their own hands was their only physical contact”.

Galleries were still closed during the Threshold Festival but Alex was determined that her piece would have an actual presence not just an online one. This meant adopting what she calls guerrilla tactics, in this case, a series of paste-ups of billboard size on building site hoardings: “The billboard idea

was a narrative of a peaceful ritual, almost religious in tone, such that I didn’t make the connection with the sterile, fearful, official public announcements on hand washing until the last segment of the pasteups, which explained the source of the work.

came about because of how we are bombarded with adverts and in the pandemic it felt like a lot of the time we were being shouted at by officials. It was also important that the piece was out there in a public space where everybody could see it”.

I hadn’t known of her project when I came upon the billboards at the top of St James Street but the sequence of hands coming out of a black background were intriguing enough to want a closer look and to risk being run over by the incessant traffic. Up close, the hands revealed themselves to be cast in what resembled wax, holding what looked like a bar of gold soap and a gold towel. The overall effect

anti-microbial properties”, explains Alex. This turns out to be something ancient civilisations knew about and was used in their health care.

Today’s scientists are expanding the knowledge of what copper can do. Crucially, they have proved that it can destroy the Covid-19 virus within minutes, while it can remain Later, when speaking to Alex, she infectious for five days on surfaces clarified what materials she had used such as stainless steel or glass. This and described the many, contortionist is clearly of immense importance steps involved in casting her own in the global fight to contain and hands in the nine different poses of combat viruses and microbial the hand washing, all of it done in diseases. her own kitchen, one hand at a time, in pandemic isolation: “There was Part of the text on Alex’s “Public definitely a moment when I wished Service Announcement” gives there were only five steps!” Even an insight into what makes this when she had finally created the artwork of particular relevance moulds for making the casts, it still to Liverpool. It explains that just took some experimenting before she around the corner from where found the soap that would melt for she has pasted her work is Upper pouring and then set; most ordinary Fredrick Street, the birthplace of the soaps contain too many chemicals city’s first combined public baths for this to happen to her satisfaction. and washhouse. This snippet of And of course soap had to be the information prompts any curious casting material in a work about viewer to explore further and it will hand washing. She also took all the lead them to Kitty Wilkinson, who photographs for the artwork. became known as the “Saint of the Slums” for her work in combatting What had resembled gold leaf was in the Liverpool cholera epidemic of fact copper. Why copper? “Because 1832. Then, as now, the importance I found during my research that it has of hygiene was key in helping stop

o f glowing towel. It reminded me of a l o c a l recent interview given by the artist, Yinka Shonibare, in which he said, “artists put something where there was nothing. It’s a form of alchemy.

They produce gold out of thin air”.

me to symbolise that aspect of the lockdowns, which meant we weren’t anchored in ourselves in the way we usually are, that we were cut off from so much of what makes up our lives.

She hopes the piece gives people a chance to pause, to have a positive Meanwhile, Alex has reconfigured response to the hand washing ritual the paste-ups as a single poster, which – in a way, to take back what our is now on view in bathrooms of four own hands mean to us. gallery spaces, one of them being Open Eye, the others in London. She -feels this was a natural progression for the piece: “For these bathroom Review: Public Service installations, I wanted the viewer to Announcement, part of Threshold become central to the work as they Festival 2021 enact the guidelines”. In her multiby Lorraine Bacchus faceted practice she endeavours to transform the dystopian into the aesthetic and precious; in this response to the pandemic she has certainly encompassed those aims.

Another aspect of her practice is to explore and question the parameters of exhibition space, so she’s really pleased that galleries have embraced the idea of having the poster in their toilets. Sorcha Boyle of Open Eye was keen for it to be displayed: “At a time when distance has become the norm, the material quality of this work brings attention to the physical interaction and tactile nature of the hand washing rituals that have become ingrained in our lives over the past year”.

the spread of disease.

A marble statue of Kitty can be seen in St George’s Hall, the work of London-based sculptor, Simon Smith. Kitty was the first woman to be represented in the Hall and the unveiling in 2012 was the first new statue to be placed there in more than a century. Over in Everton, Kitty’s legacy is being continued in a social enterprise, appropriately named “Kitty’s Launderette”. It offers affordable, ecological laundry and dry cleaning services as well as being a hub for arts and social events.

Liverpool artist, Grace Harrison, was one of the women behind the venture, which is run by a small team

The posters were sponsored by Brixton-based Photofusion and its Director, Kim Shaw, says Alex’s work was a standout project for them: “The past year has been a residents.

Another Liverpool challenging one for artists, to say the artist, Philip Garrett, has donated a least. For many, it was something sculpture of Kitty to the launderette. like a creative wormhole, shifting His art practice is rooted in everything about how they worked, celebrating historical Liverpool where they worked and what they figures whom he believes deserve worked with. Understandably, some greater recognition. artists struggled, but others found something else in them - something One of the gambles of urban street new, something surprising. Alex's art in any form is that it risks being “Public Service Announcement” taken down or painted over. An project was one of those”. attempt has been made to whitewash over Alex’s billboards but the During the pandemic we have all rivulets of dripping paint have connected with our hands as perhaps literally added another layer to the never before; been reminded of work and, to my eye, increased its the power of touch, especially intrigue and potency - particularly in its absence. The disembodied where the hands are holding the hands in Alex’s work seemed to

W O hat n ’s Exhibitions Arena Grounded Gallery: Ali Barker: Music-Colour-Paint until 12th September Music-Colour-Paint is an exhibition of Ali Barker’s abstract paintings expressing music in colour, accompanied by a residency in the Arena Grounded Gallery.

Bluecoat Display Centre: In the Window: Eva Radulova 1st - 31st August 2021 Eva Radulova is a London based ceramicist. She enjoys working with both porcelain and bone china and finds inspiration in Japanese prints, in particular the Kanagawa wave. dot-art: Landscapes of The Imagination until 14th August 2021 At a time where we could all benefit from a little escapism, dot-art’s new exhibition invites you to walk through a world of imagined landscapes created by artists Carol Miller, Brigitte Watkinson, Natalie Gilmore, and Simon Cooper.

ArtHouse Southport: Pottery and Pastel until 7th August A retrospective by Chris Hughes.

Editions: The Domino Effect Lost and found artwork from one of the oldest galleries in Liverpool until 12th August The work comes from the Domino Gallery, which has sadly closed it’s doors after it’s final show. The concept is simple – prove a piece of work is yours and take it home or donate it.

ArtHouse Southport: Steve Rigby 10th -21st August 2021 Southport watercolour artist, Steve Rigby, takes painting ‘en plein air’ to a new level. Some of the local scenes he has painted started as sketches on the back of betting slips.

FACT: Soft Boys until 29th August 2021 Kiara Mohamed’s work examines the ways we exist alongside one another and our environment, as well as what happens when we readdress our trauma through moments of radical joy.

Bluecoat: Bluecoat Platform until 26th September 2021 New family-friendly sculpture designed by artists Simon & Tom Bloor with children from Bluecoat’s Out of the Blue after school arts club.

Hub Studios Gallery: Breaking Labyrinths: A Collage + Walking + Video Projection until 15th September This pop up project was devised to connect a diverse range of international artists together with an audience during a period of isolation.

Bluecoat: Tony Phillips: 12 Decades until 29th September 2021 Tony Phillips’ etching series 12 Decades continues a survey of modern history that has occupied him over the last 40 years.

Bluecoat Display Centre: Festival of Colour until 7th August 2021 This display celebrates colour in various forms. Colour brings warmth and energy to our lives and interior spaces, allowing us to represent our individuality.

International Slavery Museum: Challenging histories: Collecting new artworks Permanent Display Contemporary artworks responding to the history of transatlantic slavery and its legacy

International Slavery Museum: Lambeaux (scraps) by Gilles EliDit-Cosaque Permanent Display A moving journal, filled with personal and historical photographs, it’s also a Creole diary – not in a geographical sense, but rather a state of mind, referring to the concept of creolisation.

Kirkby Gallery: Steve Randall, Kirkby Chronicles until 28th August 2021 This selection of oil paintings celebrates Steve’s growing up in Kirkby and tells a very personal story, a story Steve lays out in the Kirkby Chronicles book which he has written to accompany them.

Lady Lever Art Gallery: The Last Bohemian: Augustus John until 30th August 2021 The Last Bohemian: Augustus John is a brand new exhibition, showcasing around 40 works by one of Britain’s most iconic and controversial artists.

Mann Island: LAAF: Jessica El Mal: Grounds for Concern until 15th August 2021 Jessica El Mal’s project Grounds for Concern questions the concept of land ownership and the true boundaries that are enforced by human-made borders.

Museum of Liverpool: Liverpool 8 Against Apartheid until 1st February 2024 The story of how Liverpool’s Black community supported the antiapartheid campaign in the 1980s.

Museum of Liverpool: COMING HOME: Jem Wharton until 9th January 2022 This portrait of 19th century boxer Jem Wharton by Liverpool artist William Daniels is on display in the Museum of Liverpool’s The People’s Republic gallery.

Open Eye Gallery: Whose Land is it? until 19th September 2021 Whose Land Is It? brings together three Australian artists approaching the idea of the landscape and the elements of it which may have previously escaped our attention.

Pink Sands Studio: There’s Always Things Falling Out The Sky, Sammy Playford until 14th August (online) A hallucinatory poem set in artwork that is part children’s book, part psychedelic headspace. There’s Always Things Falling Out The Sky is Sammy Playford’s ritualistic conversation with Bigfoot, Faeries and aliens.

Sudley House: Home and Away until 1st September 2021 The display will include two works

by John Atkinson Grimshaw as well as Jean-Léon Gérôme, Thomas Creswick, Frederick Goodall, Charles Trevor Prescott.

Tate Liverpool: Lucian Freud: Real Lives until 16th January 2022 The first significant presentation of Lucian Freud (1922 – 2011) artworks in the North West in over thirty years.

Tate Liverpool: Artist Rooms: Louise Bourgeios in Focus until 16th January 2022 Louise Bourgeois (1911–2010) is widely recognised as one of the most important figures of modern and contemporary art. Her work ranges from large-scale sculpture and installation to painting and printmaking.

Tate Liverpool: Don McCullin until 5th September 2021 Discover the work of legendary British photographer Don McCullin (b. 1935). See more than 250 iconic photographs captured over the last 60 years.

Tate Liverpool: Democracies until 11th September 2022 This display brings together artworks that look at what it means to live in a democracy. A democratic society is based on equality, protecting each person’s individual rights.

Tate Liverpool: Whose Tradition? until 11th September 2022 Different world cultures have always been a source of inspiration for many artists throughout history.

Although this has led to important artistic developments, it is a complex story that has rarely been carried out on equal terms.

Tate Liverpool: Aliza Nisenbaum until 15th September 2021 Discover how artist Aliza Nisenbaum depicts key workers from Liverpool in her new painting.

Tate Liverpool: Emily Speed 5th August - 11th October 2021 Speed’s practice considers how a person is shaped by the buildings they have occupied and how a person occupies their own psychological space.

The Atkinson: Natural High until 19th March 2022 Reconnect with nature in this contemplative exhibition of British landscape scenery from The Atkinson’s fine art collection.

The Atkinson: Paul Kenny: Seaworks until 23rd October 2021 Working without a camera, Paul Kenny creates abstract compositions on small glass plates with objects found on beaches and crystallised sea water.

The Atkinson: Flavours 7th August - 4th September 2021 Flavours will be the first combined showing of the work of Carole Dawber, Caroline Kaye and Lisa Langan.

The Royal Standard: Youcef Hadjazi: Trauma Then, Trauma Now 13th - 29th August 2021 Part of Liverpool Arab Arts Festvial, Youcef Hadjazi’s project Trauma Then, Trauma Now explores collective and transgenerational trauma in postcolonial nations by focusing on the Algerian Civil War, often known as ‘The Black Decade’.

The World of Glass: Little Wonders until 3rd September 2021 With so much to see and be inspired by, this exhibition is sure to delight young families throughout the summer.

Victoria Gallery & Museum: Nature v Humans until 25th September 2021 Sometimes nature unleashes forces that humans cannot control like volcanoes, wild gales or global pandemics. At the same time, we are increasingly aware of the ways that humans impact negatively on the environment.

Victoria Gallery & Museum: The Art of Ruin until 11th June 2024 There are strands of Italian landscape painting which celebrate the ruinous and crumbling. It was a taste that emerged in Rome in the mid-1600s when visiting archaeological sites and collecting ancient artefacts became popular.

Victoria Gallery & Museum: A New Beauty until 15th June 2023 A display exploring the evolving ways that physical attractiveness was depicted from the late 1800s.

Walker Art Gallery: Charles Shannon and Charles Ricketts until 30th September 2021 Four artworks – one painting, two delicate drawings and one lithograph – explore some of the people, ideas and themes that influenced their work.

Walker Art Gallery: Holo Programme 155 Permanent Display Holo Programme 155, by Liverpool artist Frances Disley (born 1976), is a new acquisition for the Walker Art Gallery’s collection. The installation takes inspiration from Star Trek’s ‘Holodeck’.

To find out more about each of these events head to: www.artinliverpool.com/currentexhibitions

Events & Workshops Kirkby Gallery: Wednesday Art Club for Adults Starts 4th August, 10:30am Wednesday Art Club will be running in 10-week blocks, priced at £70 for the 10 weeks.

BOOK: galleries@knowsley.gov.uk Victoria Gallery & Museum: Campus Art and Architecture Tour 4th August, 10:30am To welcome you back to the VG&M, we are celebrating our wonderful museum, gallery and campus with summer family workshops. (Free) BOOK: www.eventbrite.co.uk/e/ summer-workshop-campus-art-andarchitecture-tickets-162034023125 Bluecoat: Storytelling with Gav Cross 4th August, 1pm, 2pm & 3pm This event is part of our summer family events programme which has been chosen by children from Holy Cross School in Liverpool.

DROP IN, Free Merseymade: Introduction to Drawing 5th & 12th August, 12-2pm Adult 2-week course. Suitable for any level.

BOOK (£40): https://merseymade. uk/book/?event_id=NDcyNA= Merseymade: GCSE and A Level catch up club 5th August - 2nd September Work confidently on your GCSE and A-Level coursework with support from a qualified Art teacher with over 16 years of experience.

BOOK (£15): https://merseymade. uk/book/?event_id=NTA5MA=

Breeze Hill Millennium Green: Bridge 5th-7th August Over three days, Culture Liverpool in partnership with Imagineer are set to host a series of FREE popup events and happenings, where ‘Bridge’ becomes the setting for an extraordinary outdoor performance DROP IN, Free Bluecoat: Bubbles workshop with Amazelab 6th August, 1-4pm Make your own bubbles and learn about their colour and structure in this workshop with Amazelab.

They’ll create mesmerising examples of chemistry and geometry.

DROP IN, Free Bluecoat: The Identity of Activism 9th August, 6:30pm Online panel discussion with Leroy Cooper, Fauziya Johnson, Dr Adam Elliot-Cooper, Nike Jonah, chaired

by Bolanle Tajudeen BOOK (Free): https://www. thebluecoat.org.uk/whats-on/theidentity-of-activism-whose-voicesget-heard-whose-lenses-are-wepresented-with Bluecoat: Storytelling, songs & activities with Og the Giant 11th August, 1pm, 2pm & 3pm Enjoy a fun hour of storytelling, songs and activities with Og the Giant.

DROP IN, Free Thatto Heath Library: Estimated Waiting Time 12th August, 4pm & 7pm (BSL) a new play that explores our need for human connection and celebrates bonds formed in unlikely places...

BOOK (Free): www.culturalhubs. eventbrite.co.uk Make. North Docks: Drink and Draw 12th August, 6:30pm Come and join our relaxed life drawing session with a glass of complimentary glass of wine and plate of cheese.

BOOK (£12): www.eventbrite. co.uk/e/drink-and-draw-12thaugust-tickets-137406597833

Bluecoat: Abstract painting workshop with Alex Macupova 12th August, 1-4pm Unleash your imagination and create abstract paintings in this workshop with Alex Macupova.

Suitable for all ages but aimed at children 7 – 11 years old.

DROP IN, Free FACT: Do Something Saturdays (workshops) 14th August, 10am-12pm In this session, collaborate with artist Danielle Brathwaithe-Shirley to create a video game map made of the places you know and love!

Learn about game design, dive into the world of video game mapping and play games created by the artist on the big cinema screen in The Box! BOOK (Free): www.eventbrite. co.uk/e/do-something-saturdaystickets-160956480165 Convenience Gallery: Convenience Life Drawing 17th August, 6:30pm Convenience Gallery CIC host a monthly life drawing session. This takes place in the bar/ coffeeshop at Bloom too, so you can get a drink whilst you work on your drawings.

(At Bloom bar & Coffee 100% of the £’s you spend go to support the work of the Open Door Charity.

How boss is that?!).

BOOK (£12): www.eventbrite. com/e/convenience-life-drawingtickets-133082941661 Make. North Docks: The Summer Arkade 2021 (Market) 22nd August, 11am-5pm The summer season is fast approaching and we are excited to launch the first Summer Arkade on Sunday 22nd August 2021. Visitors to this summer shopping event can expect an abundance of independent stall holders, summery cocktails , tasty food, activities for the whole family, themed craft workshops and of course music and entertainment throughout the whole day.

BOOK (Free): www.eventbrite. co.uk/e/the-summer-arkade-2021tickets-152681866573

Outline Arts: Summer Art School – Canvas Portraits (Workshop) 24th August, 10am Enjoy being creative and learning new art techniques? Have lots of ideas and love making art? Aged 8-15? Then this Summer Art School is for you!

BOOK (£20): outlineartclasses@ yahoo.com Outline Arts: Summer Art School – Framed Fashion Illustrations 24th August, 12:30-2:30pm Art is a great way to switch off and exercise those creative muscles.

BOOK (£20): outlineartclasses@ yahoo.com Liverpool Arab Arts Festival: Heya: Blue Spaces premiere and artist talk 26th August 2021, 7pm Heya is an experimental music project, which aims to act as a bridge for women making music in the Middle East. For Liverpool Arab Arts Festival 2021, members Nour Sokhon, Yara Mekawei, Zeynep Ayşe Hatipoğlu and Jilliene Sellner bring us Blue Spaces – a film event that raises questions about class, gender and colonialism and how they relate to the climate crisis BOOK (Free): watch.eventive. org/liverpoolarabartsfestival/ play/60c7497b5db81d00297e5ac9 Merseymade: introduction to acrylic painting 26th August, 12-2pm Come a long to relax in our fabulous creative space. In this 2 week course.

BOOK (£40): https://merseymade. uk/book/?event_id=NTA1OA= Merseymade: Mixed Media Organic Shapes and Patterns Workshop 28th August, 10am-12pm Age: 6+ Level: A good level of control with pens is required for this workshop.

BOOK (£15): https://merseymade. uk/book/?event_id=NTA2OQ=

Ca lls

bs Jo JOB: Director of Development, Marketing & Communications, Liverpool Biennial Lead on Liverpool Biennial’s fundraising and communications strategies, establishing meaningful relationships with major grant funders.

DEADLINE: 9th August 2021 APPLY: www.biennial.com JOB: Marketing & Communications Manager, Liverpool Biennial Liverpool Biennial is seeking a dynamic and creative Marketing & Communications Manager to join its team.

DEADLINE: 9th August 2021 APPLY: www.biennial.com JOB: Children & Young Persons’ Project Coordinator, The Brain Charity The Brain Charity offers emotional support, practical help and social activities to anyone with a neurological condition and to their family, friends and carers.

DEADLINE: 12th August 2021 APPLY: www.thebraincharity.org. uk JOB: Documentation Assistant, Lady Lever Art Gallery Through our people, we are building a culture which embeds trust, respect and inclusion and an organisation in which people are engaged and empowered to enable National Museums Liverpool to evolve.

DEADLINE: 19th August 2021 Apply: www.liverpoolmuseums. org.uk/jobs

JOB: Head of International Slavery Museum (Interim) We’re looking for a Head of International Slavery Museum to join our busy Museums & Partnerships Directorate, where you’ll work with colleagues from across the organisation to help us on our journey to becoming the best museum “league” in the world.

DEADLINE: 18th August 2021 APPLY: www.liverpoolmuseums. org.uk/jobs JOB: Mentor, Paperwork Theatre CIC We are currently seeking a Mentor who will be responsible for supporting participants of adults and young people during creative projects within our Community strand.

DEADLINE: 13th August 2021 APPLY: www.paperworktheatre. co.uk/jobs/ JOB: Project Coordinator, Paperwork Theatre CIC We are currently seeking a Project Coordinator who will be responsible for the planning and delivery of creative projects within our Community and Artist Opportunities strands.

DEADLINE: 13th August 2021 APPLY: www.paperworktheatre. co.uk/jobs/

For applicants: Jobs & Calls are submitted and collated from around the North West, and edited into short briefs for this newspaper.

Head to www.artinliverpool.com/opportunities to find full details on how to apply.

CALL: Freelancer opportunities: Brand New World visual arts education programme, LLP x3 Roles PAID The Liverpool Cultural Education Partnership is inviting applications for freelancers to support our Brand New World visual arts education programme. Liverpool Learning Partnership and the Sister Gwen Appleton Trust are funding six secondary schools to take part in this programme next academic year (September 2021-July 2022).

Brand New World will engage 140+ young people from diverse backgrounds in learning about visual art and expressing their voice by creating an art work with a professional artist.

DEADLINE:23rd August 2021 APPLY: www.artinliverpool.com/ calls/freelancer-opportunitiesbrand-new-world-visual-artseducation-programme-llp/ CALL: Associate Digital Artist, idontloveyouanymore £12,000 for 72 days’ work We are looking for an associate digital artist. This would be a fixedterm, part-time, position working alongside the artistic directors, but we are looking for someone interested in progressing to a fulltime core role with us. We believe this person could be an important part of idontloveyouanymore’s future and we would like to meet people interested in growing within and alongside a young and awardwinning digital arts/performance studio.

DEADLINE: 31st August 2021 APPLY: www.notion.so/idlya/ Associate-Digital-Artist-0b5134a1e d534b9887d5f00573f98ffc

CALL: Artist Call, Made in Halton Grants of up to £750 Made in Halton is a small grant commissioning programme for arts, culture and heritage projects created by artists, creatives and community groups, living or based in the borough.

There is an open call for ideas and projects that showcase work made in the borough or projects that will be launched across the borough.

DEADLINE: 30th November 2021 APPLY: www.celebratehalton. co.uk/made-in-halton/ CALL: Entries Open, Knowsley Open Art Exhibition The only requirement is that the artwork is fitted with mirror plates either on its frame or its stretcher if on a canvas, so it can be securely screwed to the gallery walls.

The name and age of the artist and artwork title must also be clearly labelled on the back.

It is free to enter and there are no age limits – creativity is for everyone!

DEADLINE: 13th August 2021 APPLY: www.artinliverpool.com/ calls/entries-open-knowsley-openart-exhibition/ CALL: Artist, Confidence through Creativity, Collective Encounters Following a successful Arts Council Project Grant Collective Encounters is seeking a passionate, sociallyengaged participatory theatre maker and facilitator to co-deliver Confidence through Creativity, an online creative course for women.

DEADLINE: 9th August 2021 APPLY: www.collectiveencounters.org.uk

For recruiters: To submit creative opportunities, email info@artinliverpool.com Please be clear about rates of pay, and deadlines for application in your email. We do not promote unpaid work unless it is clear in its intentions.

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