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15 September – 25 November<br />
The UK <strong>Biennial</strong> of Contemporary Art<br />
<strong>Liverpool</strong><br />
<strong>Biennial</strong><br />
2012<br />
Ten weeks of free exhibitions,<br />
talks, films, tours and events<br />
1
n Garden<br />
ir Thomas St<br />
t<br />
St<br />
Paradise Street<br />
lace<br />
White<br />
Crosshall St<br />
Hanover St<br />
Queens<br />
Dock<br />
Trueman St<br />
Argyle St<br />
Henry St<br />
Park Lane<br />
Churchill Way<br />
Address List<br />
chapel<br />
Chaloner St<br />
Victoria St<br />
Whitechapel<br />
Tarleton St<br />
Church St<br />
Williamson St<br />
School Lane<br />
College Lane<br />
Gradwell<br />
Duke St<br />
Queen Square<br />
Willamson<br />
Square<br />
Richmond St<br />
Basnett St<br />
St<br />
York St<br />
Old<br />
Haymarket<br />
Hanover St<br />
Upper Frederick St<br />
Churchill Way<br />
William Brown St<br />
St. John’s<br />
Gardens<br />
St. John’s Lane<br />
Wolstenholme<br />
Square<br />
Blundell St<br />
Parker St<br />
Henry St<br />
Wood St<br />
Parr St<br />
St. Georges Place<br />
Elliot St<br />
Ranelagh St<br />
Bold St<br />
Fleet St<br />
Seel StSeel St<br />
Jamaica St<br />
18<br />
1 The Cunard Building<br />
Water St L3 1ES<br />
2 the Bluecoat<br />
School Lane L1 3BX<br />
3 28–32 Wood Street<br />
L1 4AQ<br />
9<br />
Kent St<br />
St James St<br />
15<br />
4 The Tea Factory<br />
79 Wood Street L1 4DQ<br />
5 FACT<br />
88 Wood Street L1 4DQ<br />
11b 6 Hotel Indigo<br />
2<br />
10 Chapel Street L3 9AG<br />
7 Open Eye Gallery<br />
Mann Island L3 1BP<br />
23 29<br />
3<br />
8 <strong>Liverpool</strong> John<br />
Moores University<br />
Copperas Hill Building<br />
L3 1AA<br />
9 The Monro<br />
92 Duke Street L1 5AG<br />
10 Tate <strong>Liverpool</strong><br />
Albert Dock L3 4BB<br />
11a <strong>Liverpool</strong> ONE<br />
Thomas Steers Way<br />
L1 8LW<br />
11b <strong>Liverpool</strong> ONE<br />
Peter’s Lane L1 3DE<br />
Slater St<br />
Duke St<br />
12 METAL<br />
Edge Hill Railway Station<br />
Tunnel Road L7 6ND<br />
13 The Royal Standard<br />
25<br />
Unit 3, Vauxhall<br />
Business Centre<br />
131 Vauxhall Road L3 6BN<br />
Grafton St<br />
19<br />
24<br />
Renshaw St<br />
4<br />
Parr St<br />
Bold St<br />
Nelson St<br />
Back Colquitt St<br />
Cornwallis St<br />
Parliament St<br />
Islington<br />
Lord Nelson St<br />
Colquitt St<br />
Stanhope St<br />
London Rd<br />
Renshaw St<br />
Berry St<br />
Great George St<br />
Norton St<br />
14 Everton Park<br />
Heyworth Street Entrance<br />
L5 4LA<br />
15 St. George’s Hall<br />
St. George’s Place L1 1JJ<br />
16 Exchange Flags<br />
L2 3YL<br />
St. Vincent St<br />
Copperas Hill<br />
Brownlow Hill<br />
Mount Pleasant<br />
Duke St<br />
Roscoe St<br />
Knight St<br />
St James Place<br />
Seymour St<br />
17 Museum of <strong>Liverpool</strong><br />
Pier Head L3 1DG<br />
18 World Museum, William<br />
Brown Street L3 8EN<br />
19 Walker Art Gallery<br />
William Brown Street<br />
L3 8EL<br />
20 Victoria Gallery &<br />
Museum, Ashton Street<br />
University of <strong>Liverpool</strong><br />
5 L3 5TR<br />
Roscoe St<br />
21 <strong>Liverpool</strong> Cathedral<br />
St James Mount L1 7AZ<br />
Rodney St<br />
Rodney St<br />
Clarence St<br />
Hardman St<br />
Pilgrim St<br />
Mount St<br />
Hope Place<br />
Hope St<br />
Hope St<br />
Anson St<br />
Pembroke Rd<br />
Great Newton St<br />
Duckingfield St<br />
Hope St<br />
Upper Duke St Canning St<br />
21<br />
Windsor St<br />
London Rd<br />
Falkner St<br />
Blackburne Place<br />
Catharine St<br />
Brownlow St<br />
Daulby St<br />
Huskisson St<br />
Upper Parliament St<br />
Upper Stanhope St<br />
oss St<br />
Brownlow Hill<br />
Myrtle St<br />
18<br />
14<br />
8 20<br />
30<br />
22 Mitchell’s Bakery<br />
199 Oakfield Road L4 0UF<br />
23 Kazimier<br />
Wolstenhome Square<br />
L1 4JJ<br />
24 Lime Street Station<br />
Lime Street L1 1JD<br />
25 Camp and Furnace<br />
67 Greenland Street<br />
L1 0BY<br />
26 The James Monro<br />
69 Tithebarn Street L2 2EN<br />
27 <strong>Liverpool</strong> John Moores<br />
University Art & Design<br />
Academy, 2 Duckinfield<br />
Street L3 5RD<br />
27<br />
22<br />
Mount Pleasant<br />
12<br />
Oxford St<br />
Mulberry St<br />
Ashton St<br />
Myrtle St<br />
Bedford St<br />
Bedford St<br />
Princes Rd<br />
<strong>Liverpool</strong> <strong>Biennial</strong><br />
The UK <strong>Biennial</strong> of Contemporary Art<br />
<strong>Liverpool</strong> <strong>Biennial</strong> 2012 presents work<br />
by 242 artists in 27 locations. The festival<br />
takes place in galleries, museums and sites<br />
across the city and includes a dynamic<br />
programme of talks, events, screenings<br />
and family activities.<br />
The Unexpected Guest p.3<br />
Sky Arts Ignition: Doug Aitken – The Source p.14<br />
Bloomberg New Contemporaries p.15<br />
City States p.17<br />
Anthony McCall: <strong>Column</strong> p.19<br />
John Moores Painting Prize p.20<br />
Events Programme p.21<br />
www.biennial.com<br />
2 1<br />
Princes Rd
Princes Parade<br />
Key<br />
River<br />
Mersey<br />
13<br />
New Quay<br />
St Nicholas Pl<br />
Brook St<br />
Canada Boulevard<br />
17<br />
Old Hall St<br />
1<br />
Mann Island<br />
28<br />
1 The Cunard Building<br />
2 the Bluecoat<br />
3 28–32 Wood Street<br />
4 The Tea Factory<br />
5 FACT<br />
6 Hotel Indigo<br />
7 Open Eye Gallery<br />
8 <strong>Liverpool</strong> John Moores<br />
University, Copperas<br />
Hill Building<br />
9 The Monro<br />
10 Tate <strong>Liverpool</strong><br />
11a <strong>Liverpool</strong> ONE:<br />
Thomas Steers Way<br />
11b <strong>Liverpool</strong> ONE: Peter’s Lane<br />
12 METAL (Trains from<br />
Lime Street Station)<br />
13 The Royal Standard<br />
14 Everton Park (Bus No.17<br />
from Queen Square)<br />
10<br />
6<br />
Edmund St<br />
Chapel St<br />
Covent Garden<br />
Rumford St<br />
Drury Lane<br />
Water St<br />
The Goree<br />
Brunswick St<br />
7<br />
Fenwick St<br />
Albert Dock<br />
Bixteth St<br />
all Mall<br />
16<br />
Exchange St<br />
James St<br />
Strand<br />
Canning<br />
Dock<br />
Kings Parade<br />
Castle St<br />
Salthouse Quay<br />
Moorfields<br />
Tithebarn St<br />
Cook St<br />
Derby Square<br />
Salthouse<br />
Dock<br />
26<br />
Vernon St<br />
Dale St<br />
North John St<br />
Lord St<br />
Gower St<br />
15 St. George’s Hall<br />
16 Exchange Flags<br />
17 Museum of <strong>Liverpool</strong><br />
18 World Museum<br />
19 Walker Art Gallery<br />
20 Victoria Gallery & Museum<br />
21 <strong>Liverpool</strong> Cathedral<br />
22 Mitchell’s Bakery<br />
23 Kazimier<br />
24 Lime Street Station<br />
25 Camp and Furnace<br />
26 The James Monro<br />
27 <strong>Liverpool</strong> John Moores<br />
University, Art and<br />
Design Academy<br />
28 East Float, Wirral Waters<br />
(Viewing point for <strong>Column</strong>)<br />
29 Wolstenholme Projects<br />
30 Static Gallery<br />
Cheapside<br />
Stanley St<br />
South John St<br />
11a<br />
Liver St<br />
Sir Thomas St<br />
Canning Place<br />
Wapping<br />
Hatton Garden<br />
Victoria St<br />
Lord St<br />
Thomas Steers Way<br />
Paradise Street<br />
White<br />
Trueman St<br />
Crosshall St<br />
chapel<br />
Hanover St<br />
Queens<br />
Dock<br />
Argyle St<br />
Henry St<br />
Park Lane<br />
Chaloner St<br />
Churchill Way<br />
Victoria St<br />
Whitechapel<br />
Tarleton St<br />
Church St<br />
School Lane<br />
11b<br />
Williamson St<br />
College Lane<br />
2<br />
Gradwell<br />
Duke St<br />
Queen Square<br />
Willamson<br />
Square<br />
Richmond St<br />
Basnett St<br />
St<br />
York St<br />
Old<br />
Haymarket<br />
Hanover St<br />
Upper Frederick St<br />
Churchill Way<br />
William Brown St<br />
St. John’s<br />
Gardens<br />
St. John’s Lane<br />
Wolstenholme<br />
Square<br />
Blundell St<br />
Parker St<br />
Henry St<br />
Wood St<br />
Parr St<br />
St. Georges Place<br />
Elliot St<br />
Ranelagh St<br />
Bold St<br />
Fleet St<br />
Seel StSeel St<br />
23 29<br />
25<br />
Jamaica St<br />
18<br />
3<br />
9<br />
Kent St<br />
St James St<br />
15<br />
Slater St<br />
Duke St<br />
Grafton St<br />
19<br />
24<br />
Renshaw St<br />
4<br />
Parr St<br />
Bold St<br />
5<br />
Nelson St<br />
Back Colquitt St<br />
Cornwallis St<br />
Parliament St<br />
Islington<br />
Lord Nelson St<br />
Colquitt St<br />
Stanhope St<br />
London Rd<br />
Renshaw St<br />
Berry St<br />
Great George St<br />
Norton St<br />
Copperas Hill<br />
Duke St<br />
<strong>Liverpool</strong> <strong>Biennial</strong><br />
The UK <strong>Biennial</strong> of Contemporary Art<br />
<strong>Liverpool</strong> <strong>Biennial</strong> 2012 presents work<br />
by 242 artists in 27 locations. The festival<br />
takes place in galleries, museums and sites<br />
across the city and includes a dynamic<br />
programme of talks, events, screenings<br />
and family activities.<br />
The Unexpected Guest p.3<br />
Sky Arts Ignition: Doug Aitken – The Source p.14<br />
Bloomberg New Contemporaries p.15<br />
City States p.17<br />
Anthony McCall: <strong>Column</strong> p.19<br />
John Moores Painting Prize p.20<br />
Events Programme p.21<br />
www.biennial.com<br />
2 3 3<br />
St. Vincent St<br />
Brownlow Hill<br />
Mount Pleasant<br />
Roscoe St<br />
Knight St<br />
St James Place<br />
Seymour St<br />
Roscoe St<br />
Rodney St<br />
Rodney St<br />
Clarence St<br />
Hardman St<br />
Pilgrim St<br />
Mount St<br />
Hope Place<br />
Hope St<br />
Hope St<br />
Anson St<br />
Pembroke Rd<br />
Great Newton St<br />
Duckingfield St<br />
Hope St<br />
Upper Duke St Canning St<br />
21<br />
Windsor St<br />
London Rd<br />
Falkner St<br />
Blackburne Place<br />
Catharine St<br />
Brownlow St<br />
Daulby St<br />
Huskisson St<br />
Upper Parliament St<br />
Upper Stanhope St<br />
oss St<br />
Brownlow Hill<br />
Myrtle St<br />
18<br />
14<br />
8 20<br />
30<br />
27<br />
22<br />
Mount Pleasant<br />
12<br />
Oxford St<br />
Mulberry St<br />
Ashton St<br />
Myrtle St<br />
Bedford St<br />
Bedford St<br />
Princes Rd<br />
Princes Rd
The Unexpected<br />
Guest<br />
The Unexpected Guest explores notions<br />
of hospitality. Leading and emerging<br />
artists have been commissioned to make<br />
permanent and temporary public artworks,<br />
as well as long-term community-based<br />
projects. Works by over 60 international<br />
artists unfold across the city in its major<br />
galleries and a range of sites including<br />
The Cunard Building, the LJMU Copperas<br />
Hill Building, The Monro, <strong>Liverpool</strong> ONE,<br />
Everton Park and Anfield.<br />
Hospitality is the welcome we extend to<br />
strangers, an attitude and a code of conduct<br />
fundamental to civilisation, as well as a<br />
metaphor whose conditions and energy<br />
inspires artists. In a globalising world,<br />
increasing mobility and interdependence<br />
are changing the rules of hospitality.<br />
There are different ‘cultures of hospitality’,<br />
often co-existent in the same place.<br />
Our awareness of such complexity and<br />
migration between nations and cultures<br />
makes clear distinctions between host<br />
and guest increasingly difficult.<br />
All works are commissioned by <strong>Liverpool</strong> <strong>Biennial</strong><br />
unless otherwise stated<br />
Opposite: Photo of The Cunard Building by Edward Park<br />
4 3<br />
1 The Cunard Building<br />
Sylvie Blocher<br />
The Series: Speeches, 2012<br />
Blocher’s project is to intervene with<br />
significant political speeches and utopian<br />
manifestos, each of which promised<br />
happiness or emancipation but failed<br />
to deliver. Each is re-told in a way that<br />
acknowledges changed contexts –<br />
bringing new voices, new forms of energy<br />
and a sense of catharsis to the texts.<br />
Andrea Bowers<br />
City of Sanctuary, 2012<br />
Artist and activist Andrea Bowers<br />
amplifies the launch of <strong>Liverpool</strong> as a<br />
City of Sanctuary for asylum seekers and<br />
refugees. Bowers and STAR (Student<br />
Action for Refugees) have collaborated<br />
with designer Sam Wiehl to create a<br />
visual identity for the campaign.<br />
Mona Hatoum<br />
A selection of recent works, some of<br />
which have never been seen in the UK,<br />
are presented in The Cunard Building.<br />
In these works, the viewer will be<br />
confronted by unusual mappings of the<br />
world and ideas of cultural arrogance<br />
and political ignorance.<br />
Jeanne van Heeswijk, Britt Jurgensen,<br />
Debbie Morgan, Graham Hicks and<br />
the residents of Anfield<br />
The Anfield Home Tour, 2012<br />
Saturdays 11.30am<br />
Visitors are invited to join a heritage tour<br />
to Anfield. The tour presents the impact<br />
that regeneration has had, and continues<br />
to have, on the lives of people in the<br />
neighbourhood. An intervention and audio<br />
work can be found in The People’s Republic<br />
Gallery at the Museum of <strong>Liverpool</strong>,<br />
amongst the exhibits on labour history.<br />
Bus departs from The Cunard Building. Places limited.<br />
Booking essential: 0151 702 5234
Nadia Kaabi-Linke<br />
NO, 2012<br />
Parkverbot, 2010<br />
Kaabi-Linke’s newly-commissioned project<br />
presents a dialogue in which a crowd<br />
opposes an individual voice of authority.<br />
The work focuses on the visa process<br />
that many endure in order to enter the<br />
UK. Kaabi-Linke draws a parallel between<br />
these contemporary regulations and the<br />
Holy Inquisition, in which brutal judiciary<br />
procedures presumed a guilty verdict<br />
without a fair hearing. Co-produced by <strong>Liverpool</strong><br />
<strong>Biennial</strong> with the Kamel Lazaar Foundation<br />
Jirí Kovanda<br />
Kissing Through Glass, 2007<br />
I Love You, 2008 (at <strong>Liverpool</strong> Lime Street Station)<br />
Kovanda presents two works: a declaration<br />
of love that unfold through different<br />
media and across different sites, offering<br />
psychological comfort and emotional<br />
shelter to the viewer, unconditionally.<br />
Kissing Through Glass was originally conceived<br />
for Tate Modern.<br />
Jirí Kovanda, Kissing Through Glass, 2007<br />
Tate Modern, Courtesy the artist and gb agency, Paris<br />
Suzanne Lacy<br />
Storying Rape, 2012<br />
Three Weeks in January, 2012<br />
Storying Rape documents a conversation<br />
focusing on how the narrative of rape is<br />
presented in society and how re-framing<br />
this narrative might improve public<br />
understanding. During the <strong>Biennial</strong>, Lacy<br />
will also initiate a series of discussions<br />
that give young people, politicians and<br />
community leaders the chance to speak<br />
openly about the subject. Please visit<br />
www.threeweeksinjanuary.org<br />
Originally commissioned by LACE (Los Angeles<br />
Contemporary Exhibitions) for the Getty Pacific<br />
Standard Time Performance Festival<br />
Runo Lagomarsino<br />
An Offensive Object in the Least<br />
Offensive Way, 2012<br />
The starting point for Lagomarsino’s new<br />
work was an exchange between the artist<br />
and a neighbour in São Paulo who had<br />
a statue of a macaw decorating her front<br />
yard. This sculpture has been shipped<br />
across the Atlantic to ‘re-encounter’<br />
a similar macaw depicted in a poster<br />
from the early 20th century advertising<br />
a voyage to Brazil, which the artist found<br />
in the Merseyside Maritime Museum.<br />
Ahmet Ög˘ üt<br />
Let it be known to all persons here<br />
gathered, 2012<br />
Ög˘ üt’s film documents a journey<br />
undertaken by a horse rider, dressed as a<br />
postman. The postman rode from <strong>Liverpool</strong><br />
to Manchester, and in the style of a Royal<br />
Address, he delivered invitations to attend<br />
<strong>Liverpool</strong> <strong>Biennial</strong>.<br />
Trevor Paglen<br />
Prototype for a Nonfunctional Satellite<br />
(Design 1, Build 1: ‘The Kite’), 2012<br />
Paglen’s new work is a functionless<br />
satellite. Constructed from materials that<br />
maximise brightness and minimise weight,<br />
his sculpture draws upon his research<br />
into the colonisation of outer space by<br />
governmental bodies whose own satellites<br />
have a hidden or untold meaning.<br />
Christodoulos Panayiotou<br />
To create this series of archive<br />
photographs, the artist has researched<br />
the archives of the press and government<br />
in Cyprus. Panayitou has selected images<br />
that document the way in which the<br />
political concerns of the island have<br />
shaped the narrative of Greek-Cypriot<br />
historiography and culture.<br />
Courtesy of the artist and Rodeo, Istanbul<br />
Pamela Rosenkranz<br />
Bow Human, 2012<br />
Rosenkranz manipulates objects and<br />
images of contemporary culture, stretching<br />
and distorting them to create new,<br />
unstable realities. In Bow Human, figures<br />
are covered by emergency blankets.<br />
Courtesy of the artist and Karma International, Zurich<br />
and Miguel Abreu Gallery, New York<br />
Mikhael Subotzky and Patrick Waterhouse<br />
Ponte, 2008–11<br />
The vast, cylindrical Ponte building,<br />
now a symbol for social and economic<br />
downturn, has dominated the<br />
Johannesburg skyline since the 1970s.<br />
Subotzky and Waterhouse became<br />
fascinated by the fictions and myths<br />
projected onto the structure, including<br />
tales of prostitution rings and frequent<br />
suicides that mark the failure of its<br />
utopian intentions.<br />
Courtesy of the artists and Goodman Gallery<br />
Superflex<br />
<strong>Liverpool</strong> to Let, 2012<br />
The artists were struck by the abundance<br />
of empty office and commercial spaces<br />
in <strong>Liverpool</strong>’s financial district. They<br />
painstakingly re-staged ‘To Let’ signage<br />
as banners within The Cunard Building.<br />
Althea Thauberger<br />
Marat / Sade, Bohnice, 2012<br />
Filmed in the iconic Bohnice Psychiatric<br />
Hospital in Prague, which resembles the<br />
setting of the original 1963 Peter Weiss play<br />
Marat / Sade, Thauberger’s staging blurs the<br />
‘fourth wall’ between actor and audience.<br />
Historical references are re-contextualised:<br />
challenging received ideas of control,<br />
democracy and ‘normality’. Commissioned in<br />
4 5<br />
part by <strong>Liverpool</strong> <strong>Biennial</strong> with additional production<br />
assistance from The Power Plant, Toronto;<br />
The Canada Council for the Arts; Prádelna, Prague;<br />
and The Department of Germanic and Slavic Studies,<br />
University of Waterloo<br />
2 the Bluecoat<br />
John Akomfrah<br />
The Unfinished Conversation, 2012<br />
John Akomfrah’s, The Unfinished<br />
Conversation, examines the nature<br />
of the visual as triggered across the<br />
individual’s memory landscape, with<br />
particular reference to identity and race.<br />
In it academic Stuart Hall’s memories<br />
and personal archives are extracted and<br />
relocated in an imagined and different<br />
time, reflecting the questionable nature<br />
of memory itself. This multi-layered threescreen<br />
installation investigates the theory<br />
that identity is not an essence or being<br />
but instead a becoming, where individual<br />
subjectivities are formed in both real and<br />
fictive spaces. An Autograph ABP Commission.<br />
Executive Producer Mark Sealy, Director of Autograph<br />
ABP. Produced by Lina Gopaul and David Lawson,<br />
Smoking Dogs Films Production, in collaboration with<br />
Professor Stuart Hall. Project funded by Grants for<br />
The Arts, Arts Council England, and supported by<br />
the Bluecoat, New Art Exchange, Nottingham and the<br />
W.E.B.Du Bois Institute, Harvard University, Boston.<br />
With kind support from NAXOS Books, The Open<br />
University and BBC<br />
Dora Garcia<br />
Outside!, 2012<br />
Outside! allows <strong>Liverpool</strong> residents to<br />
narrate their own story of the City and<br />
its undercurrents through a street TV<br />
project. It features a live talk show element<br />
creating a forum for public debate through<br />
the recovery of experimental theatrical<br />
and broadcast forms. In collaboration<br />
with Toxteth TV, Peter Aers and the Bluecoat /<br />
Commissioned in collaboration with the Bluecoat<br />
www.newsfromoutside.co.uk
Dan Graham<br />
2-Way Mirror Cylinder Bisected By<br />
Perforated Stainless Steel, 2011–12<br />
Graham’s pavilion plays with the<br />
viewers’ perception of inner and outer<br />
space. Exploring the voyeuristic act<br />
of simultaneously watching oneself<br />
and others, the structure also questions<br />
how we operate in the public sphere:<br />
a dimension that both alienates and<br />
seduces us. Courtesy of Lisson Gallery<br />
Jakob Kolding<br />
As yet untitled, 2012<br />
Kolding’s photocollages and posters<br />
analyse the notion of identites by<br />
challenging collective imagery and rituals,<br />
and the way these interact with the city.<br />
Sun Xun<br />
Ancient Film, 2012<br />
Sun Xun explores the cultural traditions<br />
of hospitality in his native China in a<br />
new, large-scale installation of drawing<br />
and animation created in response to the<br />
Bluecoat’s gallery spaces. Referencing<br />
Song Dynasty customs and style from<br />
the 11th century, he uses traditional<br />
and new media forms of expression to<br />
negotiate the complex position of ‘host’<br />
in contemporary China. Commissioned by<br />
ShangART and π Animation Studio<br />
3 28–32 Wood Street<br />
Ming Wong<br />
Making Chinatown, 2012 Courtesy of<br />
the artist / Commissioned by Redcat, Los Angeles<br />
After Chinatown, 2012<br />
The Chinese Detective, 2012<br />
Drawing on Polanski’s iconic film<br />
Chinatown, 1974, Wong plays on the<br />
stereotypical cinematic role of the ‘Chinese<br />
detective’. His ‘investigation’ takes him on<br />
a journey through the world’s Chinatowns,<br />
uncovering the constructs of identity and<br />
place, and leading him to <strong>Liverpool</strong>.<br />
4 The Tea Factory<br />
Sabelo Mlangeni<br />
My Storie, 2012 Men Only, 2008 – 09<br />
Mlangeni is interested in the political<br />
construction and social definition of<br />
the category of the ‘outsider’. Exploring<br />
marginality and challenging the distance that<br />
conventionally separates the photographer<br />
and his subjects, his images focus on the<br />
grey area between opposing forces, such<br />
as acceptance and discrimination.<br />
Courtesy of the artist and Stevenson Gallery<br />
5 FACT<br />
Anja Kirschner and David Panos<br />
Ultimate Substance, 2012<br />
In this new work, the artists return to<br />
their interest in the problems of theory and<br />
practice, the tension between artistic form<br />
and empirical research and the relation<br />
between economics and culture. Drawing<br />
on references including archaeology,<br />
philosophy, mathematics and ritual, the<br />
work explores how the advent of coinage<br />
in ancient Greece led to the fundamental<br />
division between sensual and abstract<br />
forms of experience. Commissioned by <strong>Liverpool</strong><br />
<strong>Biennial</strong>, FACT, Secession (AT) and Extra City Kunsthal<br />
Antwerpen (BE) with support from Neuer Berliner<br />
Kunstverein (DE), CentrePasquArt Biel (CH) and<br />
Arts Council England<br />
Ming Wong, After Chinatown, 2012<br />
Publicity still, photo by Carlos Vasquez<br />
Pedro Reyes<br />
Melodrama and Other Games, 2012<br />
This work incorporates a set of newly<br />
imagined games for visitors to play<br />
with. Trained as an architect, Reyes’s<br />
work explores how encounters between<br />
strangers in controlled environments can<br />
foster new tools for collective problem<br />
solving. Inspired by the classic game<br />
of Snakes and Ladders, Melodrama is a<br />
board game customised to reflect the ups<br />
and downs of human relationships. Other<br />
games include ‘Mine-field’, ‘Feather Fun’,<br />
and ‘Slow-motion Fight’. Commissioned by<br />
<strong>Liverpool</strong> <strong>Biennial</strong> and FACT<br />
Jemima Wyman<br />
Collective Coverings, Communal Skin, 2012<br />
Wyman’s new work explores camouflage<br />
fabric as a material with symbolic links<br />
to violence and conflict. Donated secondhand<br />
camouflage and hunting t-shirts will<br />
be used as weaving material on hula-hoop<br />
looms. The public is invited to weave with<br />
the artist, transforming objects of conflict<br />
into objects of comfort. Commissioned by<br />
<strong>Liverpool</strong> <strong>Biennial</strong> and FACT<br />
Akram Zaatari<br />
Through his work, Zaatari looks at the way<br />
in which the production and collection<br />
of images may be employed in the service<br />
of power, as an act of personal resistance,<br />
and to construct individual and collective<br />
identities. His ongoing investigation<br />
questions how the photographic and filmic<br />
medium informs aesthetic and social codes<br />
in the Arab world from the 1940s to the<br />
present day.<br />
6 Hotel Indigo<br />
Runo Lagomarsino<br />
Public intervention<br />
Also see entry in The Cunard Building, page 4<br />
6 7<br />
7 Open Eye Gallery<br />
Mark Morrisroe<br />
Morrisroe, an instrumental figure in the<br />
1970s’ Boston punk scene, was 30 years<br />
old when he died of an AIDS-related illness.<br />
The work displayed here, made during<br />
his final years, uses photographs and<br />
X-ray images alongside other ephemera.<br />
Many of these works were produced<br />
in a makeshift darkroom in his hospital<br />
bathroom. Courtesy of the Estate of Mark Morrisroe<br />
(Ringier Collection) at Fotomuseum Winterthur<br />
Kohei Yoshiyuki<br />
The Park, 1971–79<br />
Love Hotel, 1978<br />
Throughout the 1970s, photographer Kohei<br />
Yoshiyuki documented the busy nightlife<br />
in Tokyo parks. The resulting photographs<br />
show the hidden side of the city; couples<br />
and groups engaging, or watching others<br />
engage, in sexual activity. Courtesy of the artist<br />
and Yossi Milo Gallery, New York<br />
Kohei Yoshiyuki, Untitled, 1971, from the series The Park, Gelatin Silver Print<br />
© Kohei Yoshiyuki, Courtesy Yossi Milo Gallery, New York<br />
Sinta Tantra<br />
Together Yet Forever Apart, 2012<br />
Tantra reflects upon how buildings welcome<br />
or repel us, and how bodies navigate<br />
environments shaped by light, colour and<br />
physical structures. Tantra’s installation<br />
transforms the external facade of the Open<br />
Eye Gallery and the adjoining public space,<br />
creating a spectacle of submergence and<br />
superabundance. Commissioned by <strong>Liverpool</strong><br />
<strong>Biennial</strong> and Open Eye Gallery
8 LJMU Copperas Hill Building<br />
Jorge Macchi<br />
Refraction, 2012<br />
Macchi has created an environment<br />
that plays with the occurrence of being<br />
suddenly immersed in a pool of water.<br />
In so doing, he questions our ability to<br />
correctly locate ourselves in space.<br />
9 The Monro<br />
Janine Antoni<br />
Umbilical, 2000<br />
Antoni’s work draws upon the complex,<br />
intimate relationship between mother and<br />
child, and between objects and bodies.<br />
Antoni cast the inside of her mouth, cupped<br />
around the bowl of a monographed silver<br />
spoon, a family heirloom. At the other end<br />
is an impression of the space within her<br />
mother’s hand. Courtesy of the artist and Luhring<br />
Augustine Gallery, New York<br />
Markus Kåhre<br />
No title, 2012<br />
The artist has conceived an inn: a<br />
welcoming and cosy environment where<br />
slight physical and sensorial shifts conjure<br />
against the peace of mind of the guests,<br />
suggesting that the site might be haunted.<br />
Dane Mitchell<br />
Spectral Readings (<strong>Liverpool</strong>), 2012<br />
Ghost Paper, 2012<br />
Mitchell has created a wall-based work<br />
incorporating Marcel Duchamp’s equation<br />
‘A Guest + A Host = A Ghost’ into its<br />
design; and a series of hollow glass<br />
objects: containers or traps for ghost<br />
stories. The sculptures took shape<br />
and hardened as local tales were<br />
spoken into molten glass.<br />
10 Tate <strong>Liverpool</strong><br />
Thresholds, presented as part of<br />
The Unexpected Guest. All the art works<br />
below are from the Tate Collection.<br />
Hurvin Anderson<br />
Jersey, 2008<br />
The painting depicts an abstracted interior<br />
of a barbershop, which has featured in<br />
a number of Anderson’s compositions.<br />
His works recall the arrival of Caribbean<br />
immigrants in Britain during the 1950s and<br />
1960s, when barbershops were opened<br />
in private homes and served as social<br />
gathering spaces.<br />
Keith Arnatt<br />
A.O.N.B. (Area of Outstanding Natural<br />
Beauty), 1982 – 84<br />
The series explores what Arnatt called the<br />
‘conjunction of “beauty” and “banality”’.<br />
The photographs were taken in locations<br />
around the United Kingdom designated<br />
for their striking landscapes. The distinctly<br />
unbeautiful items in the foreground, such<br />
as piles of rubbish, question the notion<br />
of a quintessentially British landscape.<br />
Kader Attia<br />
Untitled (Ghardaïa), 2009<br />
Oil and Sugar #2, 2007<br />
Untitled (Ghardaïa) reveals the flow of<br />
influence between colonised and coloniser<br />
through the lens of architecture, Attia<br />
stating that ‘architecture has first to do with<br />
politics, with the political order.’ In Oil and<br />
Sugar #2 motor oil is poured onto a cube<br />
of sugar, the use of materials suggesting<br />
political metaphors.<br />
Yael Bartana<br />
Kings of the Hill, 2003<br />
This film depicts men driving four-<br />
wheel drive vehicles in the coastal hills<br />
outside Tel Aviv, resonating with the<br />
Israeli-Palestinian conflict.<br />
Sophie Calle<br />
The Hotel, Room 47, 1981<br />
The Hotel, Room 44, 1981<br />
The Hotel, Room 29, 1981<br />
The Hotel, Room 28, 1981<br />
In this series Calle combines factual<br />
documentation with personal responses<br />
to the hotel guests whose lives she<br />
glimpsed through voyeuristic examination<br />
of their belongings. At times she is<br />
uninterested – of the family in Room 47<br />
Calle states ‘I am already bored’. However,<br />
she finds connections with many of her<br />
unknown guests.<br />
Layla Curtis<br />
United Kingdom, 1999<br />
Made during the Scottish devolution and<br />
the establishment of a Scottish parliament,<br />
Curtis has manipulated a road map of<br />
Great Britain to integrate Scottish and<br />
Welsh territory within the contours of<br />
England, and English and Welsh within<br />
Scotland. Imposing one geographical<br />
area upon another, Curtis raises questions<br />
about place and national identity.<br />
Eugenio Dittborn<br />
To Return (RTM) Airmail Painting<br />
No.103, 1993<br />
Dittborn’s ‘airmail paintings’ are posted<br />
folded to their destinations, confronting<br />
the idea of working in the periphery.<br />
He likened them to someone living on<br />
an island, throwing a message out to sea.<br />
Each panel is displayed unfolded alongside<br />
its envelope, which records the places<br />
it has been.<br />
Jimmie Durham<br />
Dans plusieurs de ces forêts et de ces bois,<br />
il n’y avait pas seulement des villages<br />
souterrains groupés autours du terrier du<br />
chef mais il y avait encore de véritables<br />
hameaux de huttes basses cachés sous les<br />
arbres, et si nombreaux que parfois la forêt<br />
en était remplie. Souvent les fumées les<br />
trahissaient. Deux de…, 1993<br />
8 9<br />
The sculpture is made from found objects<br />
and materials. The title is taken from a<br />
found text discovered by the artist and<br />
attached to the sculpture. The text evokes<br />
Native American culture in its description<br />
of a typical settlement.<br />
Peter Fischli and David Weiss<br />
Visible World, 1997<br />
These still photographs were taken<br />
by the artists during their international<br />
travels. The colour images of tourist<br />
destinations are reminiscent of the pictures<br />
in travel brochures and allude to the<br />
increase in global tourism at the end<br />
of the twentieth century.<br />
Gilbert and George<br />
England, 1980<br />
Cunt Scum, 1977<br />
Cunt Scum is based on images of graffiti<br />
found mostly in the artist’s local area of<br />
Spitalfields in east London. Traditionally<br />
home to London’s immigrant communities,<br />
the area was attacked in the mid-1970s<br />
by the National Front. As this represents<br />
a fractured country, Gilbert and George<br />
see England, as ‘being about nationhood’.<br />
Simryn Gill<br />
Dalam, 2001<br />
A series of 258 photographs of domestic<br />
interiors were taken over an eight week<br />
period as the artist travelled across<br />
the Malaysian peninsula. Dalam is Malay<br />
for inside, interior and also deep.<br />
Thomas Hirschhorn<br />
Drift Topography, 2003<br />
Hirschhorn seeks to represent the<br />
complexities of social and political<br />
situations by creating monumental works<br />
from the basest of materials. In this work<br />
a ring of US soldiers surround and guard<br />
a densely built-up, fenced-in territory.
William Kentridge<br />
Cambio, 1999<br />
Dogana, 1999<br />
Pensione, 1999<br />
These works address the oddity between<br />
words and images. The titles mean<br />
respectively ‘change’, ‘customs’ and<br />
‘hotel / boarding house’. These words<br />
appear at odds with the images depicted<br />
in the prints, which refer to the landscape,<br />
his process of drawing, and the wealthy,<br />
European-descended business man<br />
wrestling with his guilty conscience.<br />
Pak Sheung Chuen<br />
A Travel without Visual Experience, 2008<br />
The installation reflects and questions the<br />
processes of tourism. Images are installed<br />
in a dark room on wallpaper, visible<br />
only through the flash of a camera.<br />
Martin Parr<br />
Common Sense, 1995 – 99<br />
The images were taken all over the world<br />
at the height of the 1990s, dissecting<br />
modern consumerism. Parr analyses<br />
society by photographing people, places<br />
and objects which reflect global tastes,<br />
traditions and travel.<br />
George Shaw<br />
Scenes from the Passion, 2002<br />
These derelict garage units in a semi-rural<br />
setting come from snapshots the artist<br />
has taken of the urban landscape of<br />
his past. By editing out people and<br />
contemporary additions, the work<br />
explores memory and nostalgia.<br />
Mark Titchner<br />
We Want to Nurture and Protect, 2004<br />
We Want Strong Leadership, 2004<br />
These works explore the relationship<br />
between language, thought and action,<br />
with ornate graphic detail, typography and<br />
dynamic combinations of black and red that<br />
evoke associations with agitprop. Words<br />
invoke a utopian quest for another reality,<br />
affirming a dilemma between the desire for<br />
progress and a persistent sense of failure.<br />
Mark Wallinger<br />
Royal Ascot, 1994<br />
The work explores British identity through<br />
depictions of class, politics and history.<br />
Precise moments of the Royal Ascot race,<br />
such as the Queen’s smiles and waves, are<br />
depicted alongside BBC commentaries<br />
merged together to create an unsettling<br />
blather, highlighting the confusion of what<br />
it is to be British.<br />
Yukinori Yanagi<br />
Pacific, 1996<br />
The work is a series of interconnecting<br />
perspex boxes with coloured sand<br />
to represent the flags of 49 nations.<br />
Thousands of ants were released into the<br />
boxes whose movement distributes the<br />
sand from one flag to another. Echoing<br />
global migration, the ants gradually eroded<br />
the borders between different nations.<br />
11 <strong>Liverpool</strong> ONE<br />
Thomas Steers Way<br />
Elmgreen & Dragset<br />
But I’m on the Guest List Too!, 2012<br />
Examining the hierarchy of values and<br />
meritocracy established by celebrity<br />
culture, the artists’ oversized V.I.P.<br />
door, slightly ajar, invites the viewer<br />
in but cannot be opened fully.<br />
Peter’s Lane<br />
Oded Hirsch<br />
The Lift, 2012<br />
Hirsch’s first public realm commission<br />
bursts through the pristine and seductive<br />
shopping district of <strong>Liverpool</strong> ONE.<br />
12 METAL<br />
Café Valise is METAL’s travelling pop-up<br />
cafe. Having spent time in Peterborough<br />
and Southend-on-Sea it comes to <strong>Liverpool</strong><br />
<strong>Biennial</strong> as a venue for art, food and<br />
conversation at Edge Hill Station with<br />
accompanying events and activities.<br />
Café Valise embodies some of the core<br />
ideas of METAL’s work – participation,<br />
hospitality, curiosity, conversation and<br />
debate all within a multi-disciplinary<br />
approach. Events include:<br />
Lunch<br />
A daily lunch and conversation hosted<br />
by different guest artists and curators<br />
throughout the <strong>Biennial</strong>.<br />
No charge but booking essential<br />
John Cooper Clarke<br />
The cult punk poet has created a spoken<br />
word soundtrack to entertain and welcome<br />
you on your short train journey to Café<br />
Valise from <strong>Liverpool</strong> Lime Street to Edge<br />
Hill Station.<br />
Suzanne Lacy Also see page 4.<br />
The artist hosts a series of events that give<br />
young people, politicians and community<br />
leaders the chance to speak openly about<br />
the subject of rape and domestic violence.<br />
Oreet Ashery<br />
Party for Freedom, a poignant and<br />
humorous examination of populist claims<br />
that portray immigration and Islam as a<br />
threat to Western values of freedom.<br />
Thomas Joshua Cooper<br />
The intrepid photographer talks about<br />
travelling to some of the world’s most<br />
extreme and inhospitable places to capture<br />
a single image on a single frame.<br />
See www.metalculture.com for further information,<br />
dates and times for all events<br />
10 11<br />
13 The Royal Standard<br />
Service Provider<br />
with Tether, FormContent,<br />
GENERATORprojects, Laura Mansfield &<br />
Sovay Berriman, www.bubblebyte.org<br />
Service Provider explores notions of<br />
private and public hospitality within the<br />
context of a biennial structure and the<br />
role that an artist-run space performs as<br />
an autonomous organisation. The Royal<br />
Standard has commissioned five artist-led<br />
groups and collaborations to occupy the<br />
gallery space over a two week period.<br />
14 Everton Park<br />
Fritz Haeg<br />
Everton Park H.Q. and Foraging Spiral, 2012<br />
Haeg re-activates the present and reimagines<br />
the future of <strong>Liverpool</strong>’s Everton<br />
Park in partnership with local residents and<br />
collaborators. Plantings of wild and native<br />
edibles form the setting for the project<br />
headquarters, a geodesic dome tent which<br />
will host meetings and events from 16 to<br />
17 September 2012. Commissioned by <strong>Liverpool</strong><br />
<strong>Biennial</strong> in partnership with <strong>Liverpool</strong> Vision, <strong>Liverpool</strong> City<br />
Council and <strong>Liverpool</strong> Primary Care Trust<br />
Fritz Haeg in Everton Park, photo by Pete Carr
Jose Angel Vincench, Exile, Courtesy of the artist<br />
Various Locations<br />
José Ángel Vincench<br />
Exile, 2012<br />
A series of five mobile trailer homes, each<br />
of which takes the form of a letter, and<br />
together form the word ‘EXILE’. Presented<br />
for the first time on the occasion of<br />
the 11th Havana Biennale, this mobile<br />
installation spells out the status of those<br />
who had to flee their home country for<br />
political reasons. Courtesy of the artist<br />
Hsieh Ying-Chun<br />
Re-Live, 2012 (See www.biennial.com for location)<br />
Hsieh Ying-Chun considers architecture<br />
and town-planning a collective endeavour<br />
and participatory effort. His projects<br />
(often originating from the need to<br />
provide a prompt response to sudden and<br />
unexpected environmental or climatic<br />
emergencies) focus on principles such as<br />
biocompatibility, sustainability and selfsufficiency.<br />
By engaging the future users<br />
in the decision-making and fabrication<br />
processes, Hsieh Ying-Chun ultimately<br />
facilitates the creation of democratic<br />
and ecological living spaces, holistically<br />
designed around the inhabitants’ needs.<br />
15 St. George’s Hall<br />
Libia Castro and Ólafur Ólafsson<br />
ThE riGHt tO RighT, 2012<br />
The artists’ new project and campaign is<br />
intended to act as a catalyst, provoking<br />
discussion about the right to right: to<br />
open debate, to destabilise and question<br />
the status quo. Writer and academic Nina<br />
Power has written a text in collaboration<br />
with the artists, which will be distributed<br />
across the City and nationwide.<br />
17 World Museum<br />
James Corner Field Operations<br />
Everton Park, a Park for the People, 2012<br />
An exhibition of propositions for the<br />
reinvigoration of Everton Park, a 100<br />
acre green space to the north of the<br />
city centre, with the long-term aim of<br />
providing <strong>Liverpool</strong> with a destination for<br />
residents and tourists alike. The exhibition<br />
includes Fritz Haeg’s video documenting<br />
the community’s aspirations for the park.<br />
Commissioned by <strong>Liverpool</strong> <strong>Biennial</strong> in partnership<br />
with <strong>Liverpool</strong> Vision, <strong>Liverpool</strong> City Council and<br />
<strong>Liverpool</strong> Primary Care Trust<br />
18 Walker Art Gallery<br />
Enrico David<br />
Madreperlage, 2003<br />
David works in painting, sculpture and<br />
collage, often drawing on craft techniques.<br />
Madreperlage characteristically includes<br />
semi-grotesque theatrical figures as well<br />
as elements that veer towards the<br />
vocabulary of design. The exhibition is part of<br />
The Arts Council Collection Partnerships supported by<br />
Christie’s, a new collaboration between the Arts Council<br />
Collection and four regional museums to develop a<br />
dynamic programme of displays and exhibitions based<br />
on loans from the Collection.<br />
Enrico David, Phobic Sketch VI, 2012<br />
Graphite on paper, 29.5 × 42 cm<br />
Patrick Murphy<br />
Belonging, 2012<br />
Banished from city centres and branded<br />
a nuisance, pigeons will become a familiar<br />
sight at the Walker Art Gallery during<br />
the <strong>Biennial</strong>, when around 150 brightly<br />
coloured birds will adorn the exterior<br />
of the gallery. Belonging elevates the very<br />
familiar site of pigeons from their everyday<br />
urban context; here they are welcome,<br />
colourful visitors.<br />
12 13<br />
19 Victoria Gallery & Museum<br />
Paul Rooney<br />
Here Comes Franz<br />
He Was Afraid<br />
A solo exhibition of recent work including<br />
a work using the changing light sequence<br />
on the Active Learning Laboratory by the<br />
<strong>Liverpool</strong> artist to celebrate the Victoria<br />
Gallery & Museum’s acquisition of The<br />
Futurist, through the Contemporary Art<br />
Society. The works in the exhibition often<br />
focus on the absurd, imagined nature of<br />
social and individual remembrance.<br />
www.rhizome.org<br />
Judith Barry, Jennifer Chan, Adham<br />
Faramawy, LuckyPDF, Ming Wong,<br />
Anahita Razmi, Jemima Wyman,<br />
Queer Technologies, Kristin Lucas,<br />
and Angelo Plessas<br />
<strong>Liverpool</strong> <strong>Biennial</strong> and FACT are working in<br />
partnership with Rhizome, a New Museum<br />
affiliate in New York City. Rhizome is<br />
dedicated to the creation, presentation,<br />
preservation, and critique of emerging<br />
artistic practices that engage technology.<br />
Rhizome.org will host a weekly-curated<br />
online programme. Each week, an<br />
artist has been invited to respond to the<br />
theme of hospitality and to be ‘hosted’<br />
in Rhizome’s virtual space – presenting<br />
a hyper-linked media programme that<br />
explores cross currents in contemporary<br />
media culture.
Sky Arts Ignition:<br />
Doug Aitken — The Source<br />
10 Tate <strong>Liverpool</strong><br />
What is the source of a creative idea? Where does it start and how is it realised?<br />
Musician Jack White, British actress Tilda Swinton, late artist Mike Kelley and many<br />
other celebrated cultural figures discuss the roots of their creativity with leading<br />
contemporary artist Doug Aitken in Sky Arts Ignition: Doug Aitken – The Source.<br />
Aitken’s first public realm installation in the UK, The Source showcases the artist’s<br />
pioneering approach to public art. The work is a multi-sensory installation on <strong>Liverpool</strong>’s<br />
historic Albert Dock featuring a pavilion designed in collaboration with British architect<br />
David Adjaye OBE. During the day visitors are able to enter the pavilion, while at night<br />
it takes on a new life, when its internal projection screens become visible through the<br />
semi-transparent walls.<br />
Video still from Sky Arts Ignition: Doug Aitken – The Source<br />
Courtesy of Doug Aitken Workshop, 303 Gallery, New York, Galerie Eva Presenhuber, Zürich, Victoria Miro Gallery, London,<br />
and Regen Projects, Los Angeles<br />
Bloomberg New Contemporaries 2012<br />
8 LJMU Copperas Hill Building<br />
Jennifer Bailey, Jack Brindley, Jamie<br />
Buckley, Anita Delaney, Bryan Dooley,<br />
Freya Douglas-Morris, George Eksts,<br />
Natalie Finnemore, Nicola Frimpong,<br />
Salome Ghazanfari, Lauren Godfrey,<br />
Sarah Jones, Suki Seokyeong Kang, Piotr<br />
Krzymowski, Tara Langford, Tony Law,<br />
George Little, Evariste Maiga, Jan May,<br />
Nicole Morris, Oliver Osborne, Jennifer<br />
Phelan, Polly Read, Emanuel Röhss,<br />
Max Ruf, Simon Senn, Jackson Sprague,<br />
Samuel Taylor, Tyra Tingleff<br />
Above: Bryan Dooley, Trak Star II, 2011, photo solvent print<br />
on self-adhesive PVC, 124 × 97 cm<br />
14 15<br />
Bloomberg New Contemporaries is the<br />
leading UK organisation supporting<br />
emergent art practice from British art<br />
schools. Since 1949, Bloomberg New<br />
Contemporaries has provided a critical<br />
platform for new and recent fine art<br />
graduates primarily by means of an<br />
annual, nationally touring exhibition.<br />
This year’s selectors Nairy Baghramian,<br />
Cullinan Richards, and Rosalind Nashashibi<br />
have chosen defining works by the most<br />
promising artists from a range of over<br />
1,200 submissions. The show will tour to<br />
the Institute of Contemporary Arts (ICA),<br />
28 November 2012 – 13 January 2013.
City States<br />
8 LJMU Copperas Hill Building<br />
Starting with the premise that the state<br />
of cities increasingly determines the future<br />
of states, City States presents thirteen<br />
exhibitions developed in response to the<br />
theme of hospitality.<br />
Birmingham<br />
Birmingham The Magic City<br />
BAZ, Helen Brown, Home of Metal,<br />
Napalm Death, plan b, David Rowan,<br />
Bedwyr Williams.<br />
We Are Eastside presents a snapshot of<br />
overlapping perceptions of Birmingham,<br />
combining an exploration of unknown<br />
underground sub-infrastructures of<br />
Eastside, a collage of 1980s’ Grindcore<br />
fanzines from heavy metal’s birthplace,<br />
a day in the life of tow path walkers, an<br />
orgy of 1940s to the present day civic<br />
boosterism, and a reconstruction of a<br />
‘creepy’ wooden lath wall! Welcome to<br />
the hidden past, present and future visions<br />
of this ‘magic’ city. Curated by We Are Eastside /<br />
Organised by Capsule, Eastside Projects, Fierce Festival,<br />
Flatpack Festival, Grand Union, Ikon Gallery<br />
Copenhagen<br />
Approaching Journey<br />
Yvette Brackman, Ismar Čirkinagić ,<br />
Jens Haaning, Jane Jin Kaisen<br />
Debates on globalisation, national<br />
boundaries and immigration raise<br />
questions about hospitality: a term<br />
which refers to ‘having power’ and<br />
a meeting between the host and the<br />
guest. Approaching Journey suggests<br />
a shared encounter between travelers<br />
by transforming this passage into a<br />
mutual exchange. Curated by Helene Lundbye<br />
Petersen and Tijana Mišković<br />
Opposite: Photo of LJMU Copperas Hill Building by Edward Park<br />
16 17<br />
Gdańsk<br />
Unwanted Visitors<br />
Yael Bartana, Oskar Hansen, Alicja<br />
Karska & Aleksandra Went, Janek Simon,<br />
Kama Sokolnicka, Robert Kus´ mirowski<br />
Unwanted Visitors is based on stories<br />
evoked by three venues in Poland: the<br />
Main Town of Gdańsk; the Palace of<br />
Culture and Science in Warsaw and the<br />
10th Anniversary Stadium in Warsaw.<br />
The narration begins in the 1950s, and<br />
is derived from Stalin-era ideology.<br />
These artworks create fiction, open<br />
up possibilities for alternative urban<br />
narrations, sometimes hunt for ghosts<br />
and reflect the perspectives of different<br />
generations – analysing what it means<br />
to be simultaneously both host and guest<br />
in a country. Curated by Agnieszka Kulazińska /<br />
Produced by Centre for Contemporary Art Laznia in<br />
Gdańsk, Poland and Adam Mickiewicz Institute<br />
Hong Kong<br />
All Are Guests<br />
Leung Mee-ping, Chow Chun-fai,<br />
CoLAB × SLOW<br />
The exhibition All Are Guests sheds light<br />
on how artists respond to the connections<br />
between the self and the city, and invites<br />
viewers to contemplate notions of the<br />
individual and city that are entrenched in<br />
the subject-object dichotomy. Jointly presented<br />
by Leisure and Cultural Services Department of the Hong<br />
Kong SAR Government and Hong Kong Arts Development<br />
Council / Jointly organised by Hong Kong Museum of Art,<br />
Hong Kong Arts Development Council<br />
Incheon<br />
Terra Galaxia: Aerotropolis, Home and Away<br />
Wil Bolton, Sen Chung, Kyungah Ham, Suk<br />
Kuhn Oh, Suknam Yun, Seoung Won Won<br />
Terra Galaxia revisits a modern definition<br />
of hospitality and its paradoxical<br />
representations in one of its most<br />
contemporary settings: an international<br />
airport, where every element projects this<br />
concept through a politically-charged prism.<br />
Curated by Stephanie Seungmin Kim (Director, ISKAI
Contemporary Art) / Organised by ISKAI Contemporary<br />
Art UK Ltd, London in collaboration with Incheon Art<br />
Platform / Exhibition Design by JAIA Architects /<br />
Sponsored by Incheon Metropolitan City, Incheon<br />
Foundation For Arts & Culture, Art Council Korea, Kumho<br />
Asiana Cultural Foundation, Korea Tourism Organization /<br />
A special publication with Edward Allington and Beevor<br />
Mull architects will accompany the exhibition<br />
Lisbon<br />
Air Print for Contentores/Containers, 2012<br />
Miguel Palma<br />
Inside a transformed container, air is<br />
sucked in and dust particles are filtered<br />
onto a cloth. The result is an imprint<br />
recorded over a week and then displayed<br />
in the exhibition space. In this work the<br />
natural and artificial worlds co-exist:<br />
a filtering machine becomes a kind of<br />
mechanical lung. Curated by Luisa Santos /<br />
Organised by P28 CONTENTORES / P28 CONTAINERS<br />
Makhachkala<br />
Topography of Masculinity<br />
Taus Makhacheva<br />
The three video installations focus on<br />
acts of daily life that prevent permanent<br />
social settlement. The artist has chosen<br />
to develop this problem in the context<br />
of her native Russian Caucasus, a region<br />
marked by social instability. Three different<br />
communities are characterised by their<br />
impenetrability and revolve around specific<br />
social and cultural practices, such as dog<br />
fighting and illegal street car racing.<br />
Curated by Irina Stark, Assistant Curator / Co-curated by<br />
Kelly Klifa / Organised by Stark Projects<br />
Oslo<br />
Palestinian Embassy<br />
Goksøyr & Martens<br />
Palestinian Embassy takes place from 14 –<br />
17 September. A hot-air balloon in the<br />
colours of the Palestinian flag will fly over<br />
<strong>Liverpool</strong>. During an opening ceremony,<br />
invited politicians and academics will join the<br />
Palestinian Ambassador aboard the balloon<br />
for diplomatic discussions concerning<br />
Palestine. These will be led by a British<br />
moderator and broadcast to the audience<br />
below. From 18 September, documentation<br />
of Palestinian Embassy will be exhibited.<br />
More information on www.biennial.com<br />
Produced by KORO – Public Art Norway<br />
Reykjavík, Nuuk, Tórshavn<br />
North Atlantic Pavilion<br />
Hanni Bjartalíð, Sigurður Guðjónsson,<br />
Jessie Kleemann<br />
The North Atlantic Pavilion dissects the<br />
tensions at play when simultaneously<br />
embracing a strong national and regional<br />
identity – challenging surface appearances<br />
and hegemonic norms of hospitality.<br />
Curated by Ingi Thor and Andy Brydon / Organised by<br />
Curated Place / NICE (Nordic Intercultural Creative Events)<br />
St. Petersburg<br />
Interior<br />
Masha Godovannaya<br />
Sound: Dmitri Kakhovskiy<br />
Interior is a multi-channel, audio-visual<br />
installation. It explores the idea of multiple<br />
and infinite worlds within human existence,<br />
whilst investigating the notion of hidden<br />
hospitality in a public space.<br />
Curated by Dominik Czechowski / Organised by<br />
Calvert22 Foundation, Smolny College<br />
Taipei<br />
Metro-Wonderland: Taiwanese Artists<br />
and Urban Morphology<br />
Chen Chia-Jen, Chiu Chen-Hung,<br />
Hsu Chia-Wei<br />
Metro-Wonderland explores the influence<br />
of global urban migrations from east to<br />
west and vice versa on young Taiwanese<br />
artists. Curated by Lee Chia-Ling / Organised by<br />
Freeform Center<br />
Vilnius<br />
Black Pillow<br />
Audrius Bučas & Valdas Ozarinskas<br />
Black Pillow is a collaborative project by<br />
two Lithuanian architects and artists,<br />
Audrius Bučas & Valdas Ozarinskas. The<br />
project includes one main object – a<br />
huge inflatable black pillow. Impossible<br />
to be grasped in its entirety, the black<br />
pillow leaves spectators wondering about<br />
its real size, shape and other material<br />
qualities. Curated and organised by Ke¸stutis Kuizinas,<br />
Contemporary Art Centre, Vilnius<br />
Anthony McCall:<br />
<strong>Column</strong><br />
28 East Float, Wirral Waters<br />
18 19<br />
Wellington<br />
Watermarking<br />
David Bennewith, William Hsu,<br />
Marnie Slater<br />
Departing from the geographical and<br />
sociopolitical histories of Wellington, David<br />
Bennewith, William Hsu and Marnie Slater<br />
bring together their shared conceptual<br />
sensibilities to extend connections to<br />
the port city of <strong>Liverpool</strong> through acts of<br />
outsourcing and assemblage. Notions of<br />
distance, journeys between ports and the<br />
oceans between inform and encapsulate<br />
the work that takes form as printed matter.<br />
Curated and organised by Melanie Oliver and Laura<br />
Preston / Generously supported by Creative New Zealand<br />
and The Chartwell Trust<br />
<strong>Column</strong> is a vertical, spinning, ascending<br />
column of cloud that rises into the sky from<br />
the surface of East Float, Wirral Waters,<br />
on the edge of the Mersey directly opposite<br />
the City of <strong>Liverpool</strong>. The sculpture<br />
ascends to and beyond the cloud base<br />
and disappears and reappears, in response<br />
to weather and light conditions.<br />
<strong>Column</strong> was commissioned by<br />
Arts Council England as part of Artists<br />
Taking the Lead, Arts Council England’s<br />
flagship project for the London 2012<br />
Cultural Olympiad.<br />
Left: Anthony McCall, <strong>Column</strong>
John Moores Painting Prize<br />
18 Walker Art Gallery<br />
Eve Ackroyd; Henny Acloque; Kelly<br />
Best; Biggs & Collings; Katrina Blannin;<br />
James Bloomfield; Hannah Brown; Jane<br />
Bustin; Graham Chorlton; Wayne Clough;<br />
Julie Cockburn; Paul Collinson; Andrew<br />
Cranston; Theo Cuff; Cullinan Richards;<br />
Bernat Daviu; David Dipré; Nathan<br />
Eastwood; Liz Elton; Oscar Godfrey;<br />
Vincent Hawkins; Bé van der Heide; Rae<br />
Hicks; John Holland; Kevin Hutcheson; Jarik<br />
Jongman; Laura Keeble; Robin Kirsten;<br />
Laura Lancaster; Brendan Lancaster; Ian<br />
Law; Dominic Lewis; Peter Liversidge;<br />
Angela Lizoñ; Elizabeth Magill; Danny<br />
Markey; Enzo Marra; Rui Matsunaga; Onya<br />
McCausland; Dougal McKenzie; Damien<br />
Meade; Sonia Morange; Stephen Nicholas;<br />
Pat O’Connor; Jay Oliver; Dan Perfect;<br />
Oliver Perkins; Virginia Phongsathorn;<br />
Sarah Pickstone; Tom Pitt; Kevin J Pocock;<br />
Sarah Poots; Narbi Price; James Ryan;<br />
Andrew Seto; André Stitt; Trevor Sutton;<br />
Emma Talbot; Amikam Toren; Matt Welch;<br />
Ian Whittlesea; Thomas M Wright<br />
The John Moores Painting Prize at the<br />
Walker Art Gallery is the UK’s biggest<br />
painting competition. The exhibition brings<br />
together the most exciting and cutting<br />
edge contemporary painting. Entered<br />
anonymously, it is open to all UK-based<br />
artists working with paint. The judges are:<br />
Alan Yentob OBE, Creative Director of the<br />
BBC; Turner Prize nominees, George Shaw,<br />
Angela de la Cruz and Fiona Banner<br />
and Director of the Whitechapel Gallery,<br />
Iwona Blazwick.<br />
Previous winners include David<br />
Hockney, Richard Hamilton, Mary Martin<br />
and Peter Doig.<br />
Above: Laura Keeble, ‘I’d like to teach the world to sing!’, 2012<br />
Opposite: Photo of LJMU Copperas Hill Building by Edward Park<br />
Events Programme<br />
20 21<br />
Unless otherwise stated<br />
events are free and<br />
can be booked online<br />
at www.biennial.com
Weekends<br />
Curated in partnership with <strong>Liverpool</strong>based<br />
organisations.<br />
Opening Weekend<br />
Friday 14 September, 7.30pm<br />
<strong>Liverpool</strong> Cathedral<br />
Rhys Chatham: A Crimson Grail<br />
for 100 Guitars and 8 Basses<br />
Rhys Chatham conducts a performance<br />
of his epic composition for 100 electric<br />
guitarists and 8 electric bassists, exploring<br />
the ideas of resonance, tone and texture<br />
in sound at <strong>Liverpool</strong>’s historic Anglican<br />
Cathedral. Presented in association with Samizdat<br />
Friday 14 – Sunday 16 September,<br />
10am – 6pm<br />
Everton Park<br />
Fritz Haeg: Everton People’s Park<br />
The project headquarters, a geodesic dome<br />
tent, hosts meetings and events with local<br />
collaborators to re-imagine the future of<br />
the park (see page 11).<br />
Weekend One<br />
Saturday 22 September, 12 – 5pm<br />
Camp and Furnace<br />
The Medium is the Medium<br />
Online publication, The Double Negative,<br />
presents a day of expert talks, discussions<br />
and events around why critical writing is<br />
important in a mature and thriving arts<br />
landscape with Miranda Sawyer, Cherie<br />
Federico, Francesco Manacorda, Sam<br />
Thorne and Rachel Jones.<br />
Weekend Two<br />
Saturday 29 September, 8pm<br />
The Kazimier, £10<br />
Simon Munnery and Bedwyr Williams<br />
<strong>Liverpool</strong> Comedy Festival and<br />
<strong>Liverpool</strong> <strong>Biennial</strong> Double Bill<br />
Simon Munnery will be devising new<br />
material specifically for <strong>Liverpool</strong> <strong>Biennial</strong><br />
and <strong>Liverpool</strong> Comedy Festival. Welsh<br />
artist Bedwyr Williams provides the second<br />
half of this unique double bill with his tale<br />
of Emlyn from North Wales who visits<br />
<strong>Liverpool</strong> to research a branch of his family<br />
tree and how things turn nasty for him at<br />
the microfiche machine. We will hear about<br />
the cousins who hold their breath whilst<br />
travelling through the Mersey tunnels,<br />
the melancholy Ellen and a thuggish man<br />
who insists on being called ‘Half Uncle’.<br />
Weekend Three<br />
Friday 5 – Saturday 6 October<br />
Camp and Furnace<br />
Electronic Voice Phenomena<br />
Mercy present playful exploration of the<br />
guest / host through voice and technology.<br />
Talks, workshops and new live commissions<br />
reveal the intersection of voice and<br />
technology as a para-site of chaotic<br />
potential where writing, soul-searching and<br />
google-searching, remix, speech, score,<br />
voice, echo and distortion are melded into a<br />
practice which transcends and complicates<br />
the human performer.<br />
Friday 5 October, 8 – 10pm<br />
Solo performances and live installation<br />
with Hannah Silva, Ross Sutherland<br />
and Anat Ben David with James Wilkes<br />
and Nathan Jones.<br />
Saturday 6 October<br />
1 – 3pm<br />
Family Day: Feedback Suite<br />
Assemble feedback chamber for vocal<br />
play with Sam Meech and Hannah Silva.<br />
4 – 6pm<br />
Performance talks (with Q&A)<br />
Joe Banks Rorschach Audio and David<br />
Thompkins How to Wreck a Nice Beach<br />
8pm – 1am<br />
Venue TBC, £7<br />
In partnership with Deep Hedonia feat.<br />
Steven Fowler and Ben Morris, Iris Garrelfs,<br />
Scanner and Fatima Al Qadiri.<br />
Weekend Four<br />
Saturday 13 – Sunday 14 October<br />
The <strong>Liverpool</strong> Improvisation Collective<br />
Dance artists Jo Blowers, Andrea Buckley,<br />
Paula Hampson and Mary Prestidge<br />
will inhabit a range of installations<br />
in response to the notion of unexpected<br />
guests; improvising, composing, engaging<br />
their visual sensibilities, activating spaces<br />
and creating a live performance element.<br />
Saturday 13 October<br />
12 – 1pm In the Courtyard at the Bluecoat<br />
3 – 5pm LJMU Copperas Hill Building<br />
Sunday 14 October<br />
12 – 1pm In the Courtyard at the Bluecoat<br />
3 – 5pm The Cunard Building<br />
Saturday 13 – Sunday 14 October,<br />
11am – 5pm<br />
LJMU Copperas Hill Building<br />
The Mobile Art School:<br />
Use, Value and Future of the Art School<br />
How can art schools work with students,<br />
artists and communities to re-think and<br />
produce new ways of making, working<br />
and living?<br />
Over a two day series with keynotes<br />
and workshops from invited speakers<br />
(including Prof. Juan Cruz, <strong>Liverpool</strong> School<br />
of Art and Design; Melissa Gronlund,<br />
Editor and Managing Editor, Afterall) and<br />
group presentations/workshops (including<br />
The Autonomy Project, Bloomberg New<br />
Contemporaries, the Dutch Art Institute,<br />
School of Art and Design and Shanghai<br />
University, Islington Mill Art Academy).<br />
22 23<br />
Weekend Five<br />
Friday 19 October<br />
Long Night<br />
Venues in <strong>Liverpool</strong> are offering a great<br />
evening of visual arts and culture with a<br />
late opening offer across <strong>Liverpool</strong> <strong>Biennial</strong><br />
2012 and beyond. The event is designed to<br />
encourage people who find it difficult to<br />
visit galleries during the day to make the<br />
most of the late night openings. A range of<br />
free and ticketed events run throughout the<br />
evening. For more information visit www.biennial.com<br />
or www.culture.org.uk<br />
Friday 19 October, 5 – 9pm<br />
FACT<br />
Break Bread Open<br />
A special programme of food, screenings<br />
and discussions for <strong>Liverpool</strong> <strong>Biennial</strong> by<br />
<strong>Liverpool</strong> and Dublin-based organisations<br />
Graduate School of Create Arts and Media<br />
(GradCAM), The LAB Gallery, Create (Ireland),<br />
Temple Bar Gallery & Studios and Art in the<br />
Contemporary World (NCAD). With Charlie<br />
Gere & MOUTH (Edia Connole and Scott<br />
Wilson); a special screening introducing<br />
new work by Jesse Jones, discussions led<br />
by writer Declan Long and writer/curator<br />
Dr. Paul O’Neill.<br />
Saturday 20 October 12 – 8pm<br />
Camp and Furnace<br />
Question Mark!<br />
A festival in a day curated and developed<br />
by local young people alongside artists<br />
in response to The Unexpected Guest.<br />
Join their deconstructed party and<br />
become part of a programme of surprise<br />
performances. All adults must be<br />
accompanied by under 21s.<br />
Saturday 20 October, 11am – 6pm<br />
Hope Street Ltd, £5, various locations<br />
Deadline<br />
An unexpected guest has thrown <strong>Liverpool</strong><br />
<strong>Biennial</strong> into mortal peril. Your mission<br />
is to work together to solve the clues and
prevent the unimaginable from happening.<br />
As always, the answers lie in art.<br />
Join Hope Street Limited’s Emerging<br />
Artists and battle to beat the clock.<br />
18+ / Booking essential www.biennial.com<br />
Weekend Six<br />
Friday 26 October, 11am – 5pm<br />
Festival of New Cinema,<br />
Broadcast and Artist Interventions<br />
FACT, Screen 2<br />
£10/8 (Members & concessions)<br />
Random Acts: Artists<br />
Interventions into Broadcast<br />
Taking Channel 4’s new programming<br />
strand, Random Acts as its starting point,<br />
this forum brings together key figures to<br />
reflect on histories of artist intervention<br />
into television. Speakers include: Chip<br />
Lord; New York-based artist Marisa Olson;<br />
Tabitha Jackson (Commissioning Editor<br />
for Arts, Channel 4); performances by<br />
Ronald Fraser-Munroe and Jeremy Bailey,<br />
conversations with artists Zineb Sedira and<br />
Sarah Wright, producer Jacqui Davies, as<br />
well as FACT’s Director Mike Stubbs and<br />
Curator, Omar Kholeif. Produced by FACT<br />
<strong>Liverpool</strong> and the Cross Arts Venue (CAV)<br />
Network in partnership with Channel 4, Arts Council<br />
England and <strong>Liverpool</strong> <strong>Biennial</strong>. Programmed by Lux<br />
and <strong>Liverpool</strong> <strong>Biennial</strong> with FACT. More info at:<br />
www.biennial.com and www.fact.co.uk<br />
Saturday 27 October<br />
FACT, The Box<br />
Lux Film Programme<br />
A day of film programmed by LUX in<br />
collaboration with <strong>Liverpool</strong> <strong>Biennial</strong>.<br />
More information at www.biennial.com<br />
Weekend Seven<br />
Saturday 3 November<br />
Walker Art Gallery<br />
John Moores Painting Prize Summit<br />
Join artists, critics and curators for a<br />
weekend programme of events exploring<br />
the John Moores Painting Prize and the<br />
future of painting. See www.liverpoolmuseums.<br />
org.uk for the full programme and booking information<br />
Weekend Eight<br />
Saturday 10 November, 2 – 5pm<br />
the Bluecoat<br />
Symposium: Reconstruction Work<br />
This debate about a differentiated notion<br />
of solidarity is informed by the educator,<br />
thinker and writer Stuart Hall. Participants<br />
include the artist John Akomfrah whose<br />
film installation at the Bluecoat, The<br />
Unfinished Conversation, focuses on<br />
Hall. David Scott, Editor and Director<br />
of Small Axe, a Caribbean platform for<br />
criticism, Angela McRobbie, Professor of<br />
Communications at Goldsmiths, University<br />
of London and Mark Sealy, Director of<br />
Autograph ABP a photography charity that<br />
addresses issues of cultural identity and<br />
human rights (see page 5).<br />
Weekend Nine<br />
Thursday 15 – Saturday 17 November,<br />
10am – 5pm<br />
Walker Art Gallery<br />
Aaron Williamson, The Eavesdropper<br />
Find the Walker Art Gallery’s artist –<br />
in residence – Aaron Williamson as he<br />
presents an entirely personal reading<br />
of the Gallery’s Victorian Art Collection<br />
through dubiously positing his ability as<br />
a deaf person to imaginatively overhear<br />
and mishear the unvoiced. Commissioned by<br />
DaDaFest 2012 as part of Niet Normaal: Difference on<br />
Display, in partnership with <strong>Liverpool</strong> <strong>Biennial</strong>.<br />
Saturday 17 November, 12pm – 12am<br />
Camp and Furnace<br />
Drawing Sessions #2<br />
The Royal Standard and Drawing Paper<br />
are hosting a 12-hour drawing event<br />
exploring the relationship between sound,<br />
performance and mark making. Come and<br />
create your drawn response to a series<br />
of musical performances, screenings,<br />
talks and interventions throughout the<br />
day. Featuring: Margarita Gluzberg, Gavin<br />
Delahunty, Volkov Commanders, Sorhab<br />
Uduman, Deep Hedonia, Damian Johnston,<br />
Chiz Turnross.<br />
Weekend Ten<br />
Friday 23 November, 7pm<br />
LJMU, Art and Design Academy<br />
Changing the World from Here<br />
Using the closing weekend as a beginning<br />
Sally Tallant, Director, <strong>Liverpool</strong> <strong>Biennial</strong>,<br />
will present a vision for the future of the<br />
UK <strong>Biennial</strong> in <strong>Liverpool</strong>.<br />
Curators, artists, thinkers and writers<br />
have been invited to join the conversation<br />
and this will be the beginning of a series<br />
of focused gatherings that will explore<br />
possibilities for a post-industrial ecology,<br />
rethinking the relationship between art,<br />
urbanism and value for the 21st Century.<br />
Booking at www.biennial.com<br />
Cologne Overnight (2010)<br />
Courtesy Declan Clarke<br />
24 25<br />
Film<br />
Curated by FACT and <strong>Liverpool</strong> <strong>Biennial</strong>.<br />
All events take place at FACT<br />
at 6.30pm unless stated otherwise.<br />
Bookings: 0871 902 5737 or<br />
at www.fact.co.uk or in person<br />
at the box office.<br />
Wednesday 19 September<br />
The Forgotten Space, 2011<br />
Directed by Allan Sekula and Noël Burch + Q&A /<br />
Cert: 15 / 112 mins / £5/4 (Members & concs.)<br />
This new essay film by Allan Sekula and<br />
Noël Burch looks at everyday people<br />
whose role in the global economy goes<br />
largely undocumented.<br />
Tuesday 25 September<br />
The Wolf Knife, 2010<br />
Directed by Laurel Nakadate / 88 mins / Cert: 15 / £4/3<br />
(Members & concs.)<br />
Nominated for a 2010 Gotham Award<br />
and a 2011 Independent Spirit Award,<br />
American artist Laurel Nakadate’s second<br />
feature film explores loneliness and desire.<br />
Tuesday 25 September, 8.40pm<br />
Shame, 2011<br />
Directed by Steve McQueen / 99 mins /<br />
Cert: 18 / £5/4 (Members & concs.)<br />
Shame finds beauty and grace in<br />
improbable situations and people.<br />
Michael Fassbender portrays a man in<br />
the grip of a complex addiction and won<br />
the award for Best Actor at Venice 2011.<br />
Wednesday 3 October<br />
Post-Revolutionary Cities on Film:<br />
Cologne Overnight, 2010<br />
On Our Own, 2012<br />
Directed by Declan Clarke / 120 mins / Cert: 12A / + Q&A /<br />
Free: Booking essential<br />
Artist and filmmaker Declan Clarke takes us<br />
on a journey of post-revolutionary cinema<br />
from Cologne, Germany to Bucharest,<br />
Romania. He will show his film Cologne
Overnight (2010) and the UK premiere of<br />
On Our Own (2012). Joined by Sarah Perks,<br />
Programme Director, Cornerhouse.<br />
Tuesday 9 October, 7pm<br />
Time Topographies: <strong>Liverpool</strong>, 2012<br />
(UK Premiere)<br />
120 mins / Cert: PG / + Q&A / Booking essential<br />
Mexican artist Amanda Gutierrez portrays<br />
the story of three immigrants of different<br />
nationality, age and gender living and<br />
working in <strong>Liverpool</strong> juxtaposed against<br />
images compiled mainly from the<br />
landscapes of the city. Supported by the<br />
European Media Art Residency Exchange<br />
Wednesday 10 October<br />
The Three Disappearances<br />
of Soad Hosni, 2011<br />
Directed by Rania Stephan / 75 mins / Cert: PG /<br />
£4/3 (Members & concs.)<br />
This haunting and beautifully formed<br />
documentary is a meditation on the life<br />
of Egyptian screen legend Soad Hosni,<br />
who starred in eighty-two feature films<br />
between 1959 and 1991.<br />
Wednesday 10 October, 8.15pm<br />
The Nine Muses, 2010<br />
Directed by John Akomfrah / 90 mins / Cert: PG /<br />
£4/3 (Members & concs.)<br />
Director John Akomfrah, perhaps best<br />
known for his work with the Black Audio<br />
Film Collective and groundbreaking<br />
Handsworth Songs, delivers a beguiling<br />
personal exploration of the UK’s<br />
immigrant experience from 1949 – 70.<br />
Wednesday 17 October<br />
Marina Abramovic:<br />
The Artist is Present, 2012<br />
Directed by Matthew Ackers / £5/4 (Members & concs.)<br />
‘But why is this art?’, is a question that<br />
performance artist Marina Abramovic has<br />
been hearing over and over for the past<br />
40 years as she uses her body to push<br />
boundaries of performance. Director<br />
Matthew Akers (LOCKDOWN, USA) profiles<br />
Abramovic as she prepares for her show<br />
The Artist is Present.<br />
Wednesday 24 October<br />
Preview: The Wildness, 2012<br />
Directed by Wu Tsang / 75 mins / Cert: 15 / + Q&A<br />
with artist and filmmaker Wu Tsang and Omar Kholeif /<br />
£5/4 (Members & concs.)<br />
The Wildness is a portrait of the Silver<br />
Platter, a historic, LGBT-friendly bar on the<br />
eastside of Los Angeles that has catered to<br />
the Latin immigrant community since 1963.<br />
The UK Premiere of The Wildness will be<br />
launched with a major screening and event<br />
in the Tanks at Tate Modern, London on<br />
Saturday 2 February 2013.<br />
Wednesday 31 October, 7pm<br />
Deep State, 2012<br />
Directed by Karen Mirza and Brad Butler /<br />
45 mins / Cert: 12A / + Q&A with the filmmakers<br />
will be chaired by Omar Kholeif / £4/3 (Members & concs.)<br />
Directed by Karen Mirza and Brad Butler<br />
Deep State is a new science fiction film<br />
that has been scripted in collaboration with<br />
author China Miéville. Deep State is commissioned<br />
by Film and Video Umbrella. Funded by Arts Council<br />
England and London Councils<br />
Wednesday 7 November<br />
The Creator, 2012<br />
Directed by Al & Al / 45 mins / + Q&A with AI & AI and<br />
producer/curator Bren O’Callaghan / Cert: 12A / The Box<br />
£4/3 (Members & concs.)<br />
The Creator explores the legendary myth<br />
of the father and maker of AI (Artificial<br />
Intelligence) machines, Alan Turing.<br />
Combining Lynchian nightmare with<br />
the prophetic themes of J.G. Ballard,<br />
The Creator takes you into the surreal<br />
dream world of the visionary scientist.<br />
Contains scenes of a sexual nature<br />
and optical effects. Commissioned and produced<br />
by Cornerhouse and Creative England (previously<br />
as Vision + Media). This screening forms part of<br />
Homotopia and Abandon Normal Devices.<br />
Wednesday 14 November<br />
Preview: I Remember and Teenage, 2012<br />
Directed By Matt Wolf / 140mins / + Q&A with<br />
artist and filmmaker Matt Wolf and Omar Kholeif /<br />
£4/3 (Members & concs.)<br />
The director of the Arthur Russell<br />
documentary Wild Combination, Matt<br />
Wolf returns to FACT to present previews<br />
of two new films never previously seen<br />
in the UK. I Remember (2012) is a 24-minute<br />
film inspired by Joe Brainard’s legendary<br />
memoir poem of the same name, followed<br />
by a preview of the much-anticipated<br />
film Teenage. This film also forms part of the<br />
programme for Homotopia Queer Arts Festival.<br />
Wednesday 21 November<br />
Two Years at Sea, 2011<br />
Directed by Ben Rivers / 88 mins /<br />
£4/3 (Members & concs.)<br />
A man called Jake lives alone in a<br />
ramshackle house in the middle of the<br />
forest. He goes for walks and takes naps<br />
in the misty fields and woods. Winner of<br />
a FIPRESCI Prize at the 2011 Venice Film<br />
Festival, Ben Rivers’ debut feature-length<br />
work, shot on 16mm film, extends his<br />
relationship with Jake, first encountered<br />
in his short This is My Land.<br />
Thursday 22 November, 6.30pm<br />
Open Eye Gallery<br />
Mark Morrisroe Super-8 Film Screening<br />
£5 / £4 concs.<br />
This special screening presents Mark<br />
Morrisroe’s rarely seen Super-8 films.<br />
The Laziest Girl in Town (1981), Hello from<br />
Bertha (1983) and Nymph-O-Maniac (1984)<br />
are underground home movies filled with<br />
thrift-store costumes, cheapo gore, trashy<br />
dialogue and gratuitous nudity, starring<br />
Morrisroe and his friends as performers.<br />
26 27<br />
Talks<br />
Friday 14 September, 10am – 4pm<br />
Tate <strong>Liverpool</strong><br />
Art, Criticism and the Forces of<br />
Globalisation: The Artist as Critic /<br />
The Critic as Artist<br />
Organised jointly by Winchester School<br />
of Art, Tate <strong>Liverpool</strong> and the Archives<br />
of Art Criticism at the University of<br />
Rennes, this conference investigates the<br />
historical and contemporary relations of<br />
art production and critical writing in the<br />
era of globalisation.<br />
Saturday 15 September, 12 – 1pm<br />
World Museum<br />
James Corner, Director of Field Operations<br />
walks through their exhibition on<br />
Everton Park with Laurie Peake,<br />
Programme Director, <strong>Liverpool</strong> <strong>Biennial</strong>.<br />
Saturday 15 September, 12pm<br />
Open Eye Gallery<br />
Sinta Tantra in Conversation<br />
Artist Sinta Tantra discusses her new<br />
commission Together Yet Forever Apart<br />
with Open Eye Curator Karen Newman.<br />
Saturday 15 September, 1 – 5pm<br />
the Bluecoat<br />
Artists in Conversation<br />
Participating artists in <strong>Liverpool</strong> <strong>Biennial</strong><br />
take part in a series of conversations<br />
talking to curators, writers and critics<br />
about their projects. Moderated by<br />
Kate Fowle, Director, Independent<br />
Curators International.<br />
Monday 17 September, 11am – 1.30pm<br />
FACT<br />
All Are Guests – Hong Kong<br />
Pamela Kember and Ying Kwok in<br />
conversation with City States artists<br />
Leung Mee-ping, Chow Chun-fai and<br />
CoLAB × SLOW.
Monday 17 September, 1 – 2.30pm<br />
Walker Art Gallery<br />
Artist talks: John Moores<br />
Painting Prize China 2012<br />
Join the prize winning artists from this<br />
year’s John Moores Painting Prize China.<br />
Nie Zhengjie, Hu Wenlong, Pu Yingwei,<br />
Zhang Aicun and Zheng Jiang will discuss<br />
their paintings on display at the Walker.<br />
This event will be interpreted for Chinese speakers.<br />
Monday 17 September, 6pm<br />
Mitchell’s Bakery<br />
2Up 2Down / Homebaked Expert Meeting:<br />
Disappearing Home<br />
Author Debbie Morgan will read from her<br />
critically-acclaimed novel Disappearing<br />
Home, set in Anfield in the 1970s, together<br />
with some recent poetry responding<br />
to life in the neighbourhood.<br />
Tuesday 18 September, 6pm<br />
Mitchell’s Bakery<br />
2Up 2Down / Homebaked Expert Meeting:<br />
Jan Jongert, 2012Architecten, Rotterdam<br />
2012Architecten design buildings and<br />
develop strategies to facilitate the<br />
transition to a sustainable society. How<br />
can we empower local exchange and<br />
production through innovative design?<br />
Friday 28 September, 1 – 2pm<br />
Walker Art Gallery<br />
George Shaw in conversation<br />
Artist and juror for this year’s John<br />
Moores Painting Prize, Shaw will<br />
discuss his work, professional career<br />
and experience as a juror.<br />
Tuesday 16 October, 6.30pm<br />
(talk begins at 7pm)<br />
Open Eye Gallery, £3.50 (Free to Redeye members)<br />
Redeye Photographers’ Network Meeting:<br />
John Stoddart<br />
An event for artists and photographers:<br />
Ex-<strong>Liverpool</strong> ‘photographer to the stars’<br />
John Stoddart will present his brand<br />
new project ROOM 10. A Love Poem<br />
inspired by two special nights spent in<br />
L’Hotel Paris in 2012.<br />
Wednesday 7 – Thursday 8 November<br />
The Black-E<br />
Judy Chicago: Voices from The Song of Songs<br />
An exhibition of twelve paired prints,<br />
created by Chicago from 1997 – 99.<br />
The artist will visit on the 7 – 8 November<br />
to speak about the exhibition and the<br />
lecture she did at The Black-E ‘Sister to<br />
Shakespeare’.<br />
Saturday 17 November, 2 – 3pm<br />
Tate <strong>Liverpool</strong> Auditorium, £5<br />
Anthony McCall: <strong>Column</strong><br />
Join artist Anthony McCall, for an insight<br />
into his artistic practice. This talk coincides<br />
with the drawing exhibition Tracing the<br />
Century which will be at Tate <strong>Liverpool</strong><br />
from 16 November 2012 – 20 January 2013.<br />
The exhibition will include McCall’s film<br />
Line Describing a Cone, 1973, which is in<br />
the Tate’s collection (see page 19).<br />
Monday 19 November, 6pm<br />
Mitchell’s Bakery<br />
2Up 2Down / Homebaked Expert Meeting:<br />
Arnold Reijndorp<br />
Arnold Reijndorp joins Jeanne van<br />
Heeswijk to discuss house-building,<br />
town planning and cultural politics.<br />
Tuesdays, 1pm<br />
Walker Art Gallery<br />
Talk Tuesdays<br />
A series of artist talks, exhibition tours<br />
and discussion events with this<br />
year’s prizewinners, exhibition staff,<br />
exhibiting artists and jurors exploring<br />
the John Moores Painting Prize 2012.<br />
www.liverpoolmuseums.org.uk<br />
Tours<br />
Bookings: www.biennial.com<br />
The Unexpected Guest<br />
During the <strong>Biennial</strong> curators will lead<br />
tours of The Unexpected Guest across<br />
different venues:<br />
Saturdays, 2 – 3pm<br />
the Bluecoat<br />
22 September, Bryan Biggs, Artistic<br />
Director and Sara-Jayne Parsons,<br />
Exhibitions Curator at the Bluecoat<br />
29 September, Robyn Woolston, artist<br />
6 October, Juan Cruz, artist and Director<br />
of <strong>Liverpool</strong> School of Art & Design<br />
at <strong>Liverpool</strong> John Moores University<br />
3 November, Blue Room, the Bluecoat’s<br />
community of learning disabled artists<br />
who create artworks each week in<br />
response to our exhibitions<br />
17 November, Rosalind Nashashibi, artist<br />
Sundays, 3pm<br />
The Cunard Building and Open Eye Gallery<br />
Meeting point: The Cunard Building<br />
23 September, Lorenzo Fusi,<br />
Curator, <strong>Liverpool</strong> <strong>Biennial</strong><br />
14 October, Karen Newman,<br />
Curator, Open Eye Gallery<br />
4 November, Sally Tallant,<br />
Director, <strong>Liverpool</strong> Biennal<br />
FACT and Wood Street<br />
Meeting point: FACT<br />
30 September, Omar Kholeif,<br />
Curator, FACT<br />
11 November, Omar Kholeif, Curator, FACT<br />
The Monro and <strong>Liverpool</strong> ONE<br />
Meeting point: The Monro<br />
7 October, Lucy Johnston,<br />
Assistant Curator, <strong>Liverpool</strong> <strong>Biennial</strong><br />
28 October, Lorenzo Fusi,<br />
Curator, <strong>Liverpool</strong> <strong>Biennial</strong><br />
18 November, Rosie Cooper,<br />
Projects Curator, <strong>Liverpool</strong> <strong>Biennial</strong><br />
28 29<br />
The Anfield Home<br />
Friday 14 September, 2.30pm<br />
and then Saturdays at 11.30am<br />
Meeting point: the reception<br />
at The Cunard Building (see page 3)<br />
City States<br />
Sunday 21 October, 3pm<br />
LJMU Copperas Hill Building<br />
Vanessa Boni, Assistant Curator,<br />
<strong>Liverpool</strong> <strong>Biennial</strong><br />
RIBA Architecture Tours<br />
Thursdays, 4pm<br />
Alternately at The Cunard Building<br />
and LJMU Copperas Hill Building starting<br />
with The Cunard Building on 20 September.<br />
Organised by RIBA <strong>Liverpool</strong><br />
Family<br />
Programme<br />
Saturdays 15, 22, 29 September<br />
and 6, 13 October, 12pm – 4pm<br />
FACT<br />
Weaving Workshops<br />
FACT invites visitors to help us to soften<br />
the fabric of our building! Collective<br />
Coverings, Communal Skin by artist<br />
Jemima Wyman fuses traditional weaving<br />
and meditative art therapy techniques to<br />
turn objects of conflict such as military<br />
uniforms into objects of comfort. This<br />
collaborative artwork will grow as a new<br />
‘skin’ throughout the festival.<br />
Saturdays, 1 – 3pm<br />
<strong>Liverpool</strong>-based artists invite families to<br />
make art. Children must be accompanied<br />
by an adult. Download the family guide<br />
programme at www.biennial.com.
Saturday 22 September<br />
Camp and Furnace<br />
Message to the Future<br />
with Frances Disley<br />
Exploring the fundamental urge to<br />
leave messages and make marks, artist<br />
Frances Disley invites you to send your<br />
own message to the future.<br />
Saturday 29 September, 1 – 4pm<br />
World Museum<br />
Walk on the Wildside<br />
A chance to get up close and personal<br />
with the animals and plants that live<br />
in Everton Park. Children are invited<br />
to make a dragonfly to take home,<br />
pick up quiz sheets and tick lists to<br />
take to the park themselves.<br />
Phone 0151 478 4241 for more information<br />
Saturday 29 and Sunday 30 September,<br />
1 – 4pm<br />
Walker Art Gallery<br />
Splashes and Splatters<br />
Join our artists for colourful painting<br />
workshops for all the family.<br />
Saturday 29 September<br />
Open Eye Gallery<br />
Held with Kevin Hunt<br />
Become part of an ongoing photographic<br />
project and create your own sculpture<br />
that will form part of a growing archive<br />
exploring the sculptural object and the<br />
relationship with its maker, you.<br />
Saturday 6 October<br />
Camp and Furnace<br />
Feedback Suite with Sam Meech<br />
and Hannah Silva<br />
A fun interface for making noise chaos,<br />
vocal experiments and effects will be<br />
manipulated live.<br />
Saturday 13 October<br />
LJMU Copperas Hill Building<br />
Doppelganger with Kevin Hunt<br />
Create a series of replicas of works<br />
to generate numerous ‘editions’ to<br />
consider what it means when an artwork<br />
is confronted by its double.<br />
Saturday 20 October, 1 – 4pm<br />
Walker Art Gallery<br />
Pigeon Street – Belonging by Patrick Murphy<br />
Join us for workshops inspired by<br />
Patrick Murphy’s colourful installation on<br />
the exterior of the Walker Art Gallery.<br />
Saturday 20 October<br />
Camp and Furnace<br />
Crazy Golf Hack with Ross Dalziel<br />
A network of artists and technologists<br />
have developed a crazy golf course and<br />
will be inviting <strong>Liverpool</strong> families to<br />
become crazy golf testers and then make,<br />
design and play.<br />
Tuesday 23, Wednesday 24,<br />
Thursday 25 October, 1 – 4pm<br />
Walker Art Gallery<br />
The Big Drawing Party<br />
Celebrate <strong>Liverpool</strong> <strong>Biennial</strong> at the Walker<br />
with our big drawing party! Join us for half<br />
term big and bold drawing activities and<br />
help us take over the gallery.<br />
Wednesday 24 October, 1–2pm<br />
The Cunard Building<br />
Understanding Art (Ages 3 +)<br />
Thursday 25 October, 1–2pm<br />
LJMU Copperas Hill Building<br />
Understanding Art (Ages 6 +)<br />
Friday 26 October, 1–2pm<br />
Venue TBA<br />
Understanding Art (Ages 8 +)<br />
With Panayiota Vassilopoulou in<br />
collaboration with the Philosophy<br />
Department, University of <strong>Liverpool</strong>.<br />
Explore the meaning and value of art.<br />
Bookable in advance and children must be<br />
accompanied by an adult<br />
Saturday 27 October<br />
The One-Man Show with Laurence Payot<br />
Become the ‘One-Man’ protagonist<br />
by adding a frame to a stop-motion video.<br />
Saturday 3 November, 1 – 3pm<br />
New Masters with Frances Disley<br />
Bring along special objects that represent<br />
you and your family. Strike up a pose<br />
from an old master painting and create<br />
a new photographic masterpiece.<br />
Saturday 3 November, 11 – 12.30pm<br />
Walker Art Gallery: Family Art Club<br />
John Moores Painting Prize 2012<br />
Family Art Club is for children aged<br />
between 7 and 12 who love art and<br />
being creative. Each month you and your<br />
child will be able to try new techniques,<br />
experiment with different materials and<br />
learn new skills. Book by calling 0151 478 4171<br />
or emailing emma.devlin@liverpoolmuseums.org.uk<br />
Saturday 10 November<br />
the Bluecoat<br />
Together Sculpture with Laurence Payot<br />
Join the artist to create a series of<br />
sculptures to wear and activate.<br />
Saturday 17 November<br />
Drawing Machine with Ross Dalziel<br />
Build and play with simple robots to<br />
generate amazing automatic drawings<br />
in the lead up to a weekend of drawing<br />
across the city with The Royal Standard.<br />
Saturday 24 November, 1–6pm<br />
Everton Park<br />
Astroturf with Ross Dalziel<br />
Merseyside calls for occupants of<br />
interstellar craft. Family-friendly DIY<br />
radio and naked-eye astronomy,<br />
building, gaming and exploring the<br />
skies at Everton Park.<br />
For more information contact<br />
Francesca Williams: franny@biennial.com,<br />
0151 709 7444<br />
30 31<br />
Learning<br />
Plan your School Visit<br />
Learning is at the core of what we do<br />
and it is our ambition that every school<br />
in Merseyside visits the <strong>Biennial</strong>.<br />
To plan your visit contact<br />
Francesca Williams: franny@biennial.com<br />
0151 709 7444<br />
Learning resources, with appropriate<br />
themes and activities for Key Stages<br />
2–5, are available to download at<br />
www.biennial.com<br />
Mercy <strong>Biennial</strong> Podcast<br />
Each week host Vanessa Bartlett<br />
welcomes a selection of guests to<br />
Mercy’s weekly podcast series with<br />
an alternative take on the <strong>Biennial</strong>.<br />
www.mercyonline.co.uk/podcast<br />
Independents<br />
<strong>Biennial</strong> 2012<br />
The Independents is one of the largest<br />
contemporary arts festivals in the<br />
UK, providing the vibrant ‘fringe’ to<br />
the <strong>Liverpool</strong> <strong>Biennial</strong>. In 2010, the<br />
Independents showcased more than<br />
500 national and international artists in<br />
128 events at 60 venues. Various venues /<br />
www.independentsbiennial.org
Artists<br />
A<br />
Doug Aitken, Tate <strong>Liverpool</strong><br />
Eve Ackroyd, Walker Art Gallery<br />
Henny Acloque, Walker Art Gallery<br />
John Akomfrah, the Bluecoat<br />
Hurvin Anderson, Tate <strong>Liverpool</strong><br />
Janine Antoni, The Monro<br />
Keith Arnatt, Tate <strong>Liverpool</strong><br />
Kader Attia, Tate <strong>Liverpool</strong><br />
B<br />
Jennifer Bailey,<br />
LJMU Copperas Hill Building<br />
Yael Bartana, Tate <strong>Liverpool</strong><br />
BAZ, LJMU Copperas Hill Building<br />
David Bennewith,<br />
LJMU Copperas Hill Building<br />
Kelly Best, Walker Art Gallery<br />
Biggs & Collings, Walker Art Gallery<br />
Hanni Bjartalíð,<br />
LJMU Copperas Hill Building<br />
Katrina Blannin, Walker Art Gallery<br />
Sylvie Blocher, The Cunard Building<br />
James Bloomfield, Walker Art Gallery<br />
Wil Bolton, LJMU Copperas Hill Building<br />
Yvette Brackman,<br />
LJMU Copperas Hill Building<br />
Jack Brindley,<br />
LJMU Copperas Hill Building<br />
Helen Brown,<br />
LJMU Copperas Hill Building<br />
Hannah Brown, Walker Art Gallery<br />
Bubblebyte.org, The Royal Standard<br />
Audrius Bucas & Valdas<br />
Ozarinskas, LJMU Copperas Hill Building<br />
Jamie Buckley,<br />
LJMU Copperas Hill Building<br />
Jane Bustin, Walker Art Gallery<br />
C<br />
Sophie Calle, Tate <strong>Liverpool</strong><br />
Libia Castro and Ólafur Ólafsson,<br />
St. George’s Hall and Lime Street Station<br />
Rhys Chatham,<br />
<strong>Liverpool</strong> Anglican Cathedral<br />
Chen Chia-Jen,<br />
LJMU Copperas Hill Building<br />
Chiu Chen-Hung,<br />
LJMU Copperas Hill Building<br />
Chow Chun-fai,<br />
LJMU Copperas Hill Building<br />
Graham Chorlton, Walker Art Gallery<br />
Sen Chung, LJMU Copperas Hill Building<br />
Ismar Cirkinagic,<br />
LJMU Copperas Hill Building<br />
Wayne Clough, Walker Art Gallery<br />
Julie Cockburn, Walker Art Gallery<br />
CoLAB × SLOW,<br />
LJMU Copperas Hill Building<br />
Paul Collinson, Walker Art Gallery<br />
Andrew Cranston, Walker Art Gallery<br />
Theo Cuff, Walker Art Gallery<br />
Layla Curtis, Tate <strong>Liverpool</strong><br />
D<br />
Enrico David, Walker Art Gallery<br />
Bernat Daviu, Walker Art Gallery<br />
Anita Delaney,<br />
LJMU Copperas Hill Building<br />
David Dipré, Walker Art Gallery<br />
Eugenio Dittborn, Tate <strong>Liverpool</strong><br />
Bryan Dooley,<br />
LJMU Copperas Hill Building<br />
Freya Douglas-Morris,<br />
LJMU Copperas Hill Building<br />
Jimmie Durham, Tate <strong>Liverpool</strong><br />
E<br />
Nathan Eastwood, Walker Art Gallery<br />
George Eksts,<br />
LJMU Copperas Hill Building<br />
Liz Elton, Walker Art Gallery<br />
Elmgreen and Dragset,<br />
<strong>Liverpool</strong> ONE<br />
F<br />
Field Operations, World Museum<br />
Natalie Finnemore,<br />
LJMU Copperas Hill Building<br />
Peter Fischli and David Weiss,<br />
Tate <strong>Liverpool</strong><br />
Nicola Frimpong,<br />
LJMU Copperas Hill Building<br />
FormContent, The Royal Standard<br />
G<br />
Dora Garcia, the Bluecoat<br />
GENERATORProjects,<br />
The Royal Standard<br />
Oscar Godfrey, Walker Art Gallery<br />
Salome Ghazanfari,<br />
LJMU Copperas Hill Building<br />
Gilbert and George, Tate <strong>Liverpool</strong><br />
Simryn Gill, Tate <strong>Liverpool</strong><br />
Sigurður Guðjónsson,<br />
LJMU Copperas Hill Building<br />
Lauren Godfrey,<br />
LJMU Copperas Hill Building<br />
Masha Godovannaya,<br />
LJMU Copperas Hill Building<br />
Goksøyr & Martens,<br />
LJMU Copperas Hill Building<br />
Dan Graham, the Bluecoat<br />
H<br />
Jens Haaning, LJMU Copperas Hill<br />
Fritz Haeg,<br />
World Museum and Everton Park<br />
Oskar Hansen,<br />
LJMU Copperas Hill Building<br />
Mona Hatoum, The Cunard Building<br />
Jeanne van Heeswijk and<br />
Graham Hicks, Britt Jurgensen,<br />
Debbie Morgan, The Cunard Building<br />
Oded Hirsch, <strong>Liverpool</strong> ONE<br />
Thomas Hirschhorn, Tate <strong>Liverpool</strong><br />
Home of Metal,<br />
LJMU Copperas Hill Building<br />
Hsieh Ying-Chun, Exchange Flags<br />
William Hsu,<br />
LJMU Copperas Hill Building<br />
Hsu Chia-Wei,<br />
LJMU Copperas Hill Building<br />
Vincent Hawkins, Walker Art Gallery<br />
Bé van der Heide, Walker Art Gallery<br />
Rae Hicks, Walker Art Gallery<br />
John Holland, Walker Art Gallery<br />
Kevin Hutcheson, Walker Art Gallery<br />
J<br />
Jarik Jongman, Walker Art Gallery<br />
Sarah Jones,<br />
LJMU Copperas Hill Building<br />
K<br />
Nadia Kaabi Linke,<br />
The Cunard Building<br />
Markus Kåhre, The Monro<br />
Jane Jin Kaisen,<br />
LJMU Copperas Hill Building<br />
Suki S. Kang,<br />
LJMU Copperas Hill Building<br />
Alicja Karska & Aleksandra Went,<br />
LJMU Copperas Hill Building<br />
Laura Keeble, Walker Art Gallery<br />
William Kentridge, Tate <strong>Liverpool</strong><br />
Anja Kirschner and David Panos,<br />
FACT<br />
Robin Kirsten, Walker Art Gallery<br />
Jessie Kleemann,<br />
LJMU Copperas Hill Building<br />
Jakob Kolding, the Bluecoat<br />
Jiri Kovanda, The Cunard Building<br />
and Lime Street Station<br />
Piotr Krzymowski,<br />
LJMU Copperas Hill Building<br />
Robert Kus´mirowski,<br />
LJMU Copperas Hill Building<br />
Ham Kyungah,<br />
LJMU Copperas Hill Building<br />
L<br />
Suzanne Lacy, The Cunard Building<br />
Runo Lagomarsino, The Cunard<br />
Building and Hotel Indigo<br />
Tony Law, LJMU Copperas Hill Building<br />
Brendan Lancaster, Walker Art Gallery<br />
Laura Lancaster, Walker Art Gallery<br />
Tara Langford,<br />
LJMU Copperas Hill Building<br />
Leung Mee-ping,<br />
LJMU Copperas Hill Building<br />
George Little,<br />
LJMU Copperas Hill Building<br />
Ian Law, Walker Art Gallery<br />
Dominic Lewis, Walker Art Gallery<br />
Peter Liversidge, Walker Art Gallery<br />
A n g e l a L i z o ń , Walker Art Gallery<br />
M<br />
Jorge Macchi,<br />
LJMU Copperas Hill Building<br />
Elizabeth Magill, Walker Art Gallery<br />
Evariste Maiga,<br />
LJMU Copperas Hill Building<br />
Taus Makhacheva,<br />
LJMU Copperas Hill Building<br />
Laura Mansfield & Sovay<br />
Berriman, The Royal Standard<br />
Danny Markey, Walker Art Gallery<br />
Enzo Marra, Walker Art Gallery<br />
Rui Matsunaga, Walker Art Gallery<br />
Jan May, LJMU Copperas Hill Building<br />
Anthony McCall,<br />
East Float Wirral Waters<br />
Onya McCausland, Walker Art Gallery<br />
Dougal McKenzie, Walker Art Gallery<br />
Damien Meade, Walker Art Gallery<br />
Dane Mitchell, The Monro<br />
Sabelo Mlangeni, The Tea Factory<br />
Sonia Morange, Walker Art Gallery<br />
Nicole Morris,<br />
LJMU Copperas Hill Building<br />
Mark Morrisroe, Open Eye Gallery<br />
Patrick Murphy, Walker Art Gallery<br />
N<br />
Napalm Death,<br />
LJMU Copperas Hill Building<br />
Stephen Nicholas, Walker Art Gallery<br />
O<br />
Pat O’Connor, Walker Art Gallery<br />
Ahmet Ög˘ üt, The Cunard Building<br />
Suk Kuhn Oh,<br />
LJMU Copperas Hill Building<br />
Jay Oliver, Walker Art Gallery<br />
Oliver Osborne,<br />
LJMU Copperas Hill Building<br />
P<br />
Trevor Paglen, The Cunard Building<br />
Pak Sheung Chuen, Tate <strong>Liverpool</strong><br />
Miguel Palma,<br />
LJMU Copperas Hill Building<br />
Christodoulos Panayiotou,<br />
The Cunard Building<br />
Martin Parr, Tate <strong>Liverpool</strong><br />
Dan Perfect, Walker Art Gallery<br />
Oliver Perkins, Walker Art Gallery<br />
Jennifer Phelan,<br />
LJMU Copperas Hill Building<br />
Virginia Phongsathorn,<br />
Walker Art Gallery<br />
Sarah Pickstone, Walker Art Gallery<br />
Tom Pitt, Walker Art Gallery<br />
plan b, LJMU Copperas Hill Building<br />
Kevin J Pocock, Walker Art Gallery<br />
Sarah Poots, Walker Art Gallery<br />
Narbi Price, Walker Art Gallery<br />
R<br />
Polly Read, LJMU Copperas Hill Building<br />
Pedro Reyes, FACT<br />
Cullinan Richards, Walker Art Gallery<br />
Emanuel Röhss,<br />
LJMU Copperas Hill Building<br />
Paul Rooney, Victoria Gallery & Museum<br />
Pamela Rosenkranz,<br />
The Cunard Building<br />
David Rowan,<br />
LJMU Copperas Hill Building<br />
Max Ruf, LJMU Copperas Hill Building<br />
James Ryan, Walker Art Gallery<br />
S<br />
Simon Senn,<br />
LJMU Copperas Hill Building<br />
Andrew Seto, Walker Art Gallery<br />
George Shaw, Tate <strong>Liverpool</strong><br />
Janek Simon,<br />
LJMU Copperas Hill Building<br />
André Stitt, Walker Art Gallery<br />
Marnie Slater,<br />
LJMU Copperas Hill Building<br />
Kama Sokolnicka,<br />
LJMU Copperas Hill Building<br />
Jackson Sprague,<br />
LJMU Copperas Hill Building<br />
Mikhael Subotzky and Patrick<br />
Waterhouse, FACT<br />
Sun Xun, the Bluecoat<br />
Superflex, The Cunard Building<br />
Trevor Sutton, Walker Art Gallery<br />
Samuel Taylor,<br />
LJMU Copperas Hill Building<br />
T<br />
Emma Talbot, Walker Art Gallery<br />
Sinta Tantra, Open Eye Gallery<br />
Tether, The Royal Standard<br />
Althea Thauberger,<br />
The Cunard Building<br />
32 33<br />
Tyra Tingleff,<br />
LJMU Copperas Hill Building<br />
Mark Titchner, Tate <strong>Liverpool</strong><br />
Amikam Toren, Walker Art Gallery<br />
W<br />
Mark Wallinger, Tate <strong>Liverpool</strong><br />
Matt Welch, Walker Art Gallery<br />
Ian Whittlesea, Walker Art Gallery<br />
Bedwyr Williams,<br />
LJMU Copperas Hill Building<br />
Ming Wong, 28–32 Wood Street<br />
Seoung Won Won,<br />
LJMU Copperas Hill Building<br />
Thomas M Wright, Walker Art Gallery<br />
Jemima Wyman, FACT<br />
Y<br />
Yukinori Yanagi, Tate <strong>Liverpool</strong><br />
Kohei Yoshiyuki, Open Eye Gallery<br />
Yun Suknam,<br />
LJMU Copperas Hill Building<br />
Z<br />
Akram Zaatari, FACT<br />
Curators<br />
<strong>Liverpool</strong> <strong>Biennial</strong> 2012<br />
Sally Tallant, Artistic Director<br />
The Unexpected Guest<br />
Lorenzo Fusi, <strong>Liverpool</strong> <strong>Biennial</strong><br />
Rosie Cooper, <strong>Liverpool</strong> <strong>Biennial</strong><br />
Lucy Johnston, <strong>Liverpool</strong> <strong>Biennial</strong><br />
Sara-Jayne Parsons,<br />
Bryan Biggs, the Bluecoat<br />
Laurie Peake, <strong>Liverpool</strong> <strong>Biennial</strong><br />
Omar Kholeif, Mike Stubbs, FACT<br />
Karen Newman, Open Eye Gallery<br />
Jenny Porter, METAL <strong>Liverpool</strong><br />
Ann Bukantas, Walker Art Gallery<br />
Moira Lindsay, Victoria Gallery<br />
& Museum<br />
The Royal Standard<br />
Sky Arts Ignition: Doug Aitken –<br />
The Source and Thresholds<br />
Sook-Kyung Lee, Eleanor Clayton,<br />
Jose Diaz, Tate <strong>Liverpool</strong><br />
City States and Public Programme<br />
Paul Domela, <strong>Liverpool</strong> <strong>Biennial</strong><br />
Vanessa Boni, <strong>Liverpool</strong> <strong>Biennial</strong><br />
Family Programme<br />
Francesca Williams, <strong>Liverpool</strong> <strong>Biennial</strong>
Visitor Information<br />
<strong>Liverpool</strong> <strong>Biennial</strong> is delighted to be<br />
working with John Lewis <strong>Liverpool</strong><br />
as the 2012 Visitor Services Partner.<br />
Open daily from 13 September, 10am – 6pm<br />
Visitor Hub at the Bluecoat<br />
Weekly night time hub – at FACT,<br />
open Wednesdays 6 – 8pm<br />
Call Visitor Services +44 (0)845 220 2800,<br />
line open from 12 September 10am – 6pm<br />
Tourist Information – www.visitliverpool.com<br />
or call 0151 233 2008.<br />
Access for Disabled Visitors – Visit<br />
www.disabledgo.com. Manual and<br />
motorised wheelchairs/scooters are available<br />
for hire from shopmobility 0151 707 0877.<br />
Local Public Transport – For information<br />
for Merseyrail, bus and ferry services call<br />
Merseytravel Line: 0871 200 22 33 (8am–8pm<br />
daily) or visit www.merseytravel.gov.uk<br />
Taxi – Make use of <strong>Liverpool</strong>’s extensive<br />
Black Cab service or pre-book with<br />
Mersey Cabs 0151 238 1234, INTX Cars<br />
0151 727 7000, DELTA 0151 922 3333<br />
Getting to <strong>Liverpool</strong><br />
Air — <strong>Liverpool</strong> John Lennon Airport is nine<br />
miles southeast of the city centre connected<br />
by the Airlink 500 bus service which runs<br />
every 20 mins. Manchester Airport is under<br />
an hour away.<br />
Car – At the end of the M62, <strong>Liverpool</strong><br />
city centre is easily accessible by an<br />
extensive road network. The centre offers<br />
numerous secure 24 hours car parks<br />
including the <strong>Liverpool</strong> ONE complex that is<br />
served by 3 Q-Parks with over 3,000 spaces.<br />
Train – <strong>Liverpool</strong> <strong>Biennial</strong> is delighted to<br />
recommend Virgin Trains, our National<br />
Travel Partner for <strong>Liverpool</strong> <strong>Biennial</strong> 2012.<br />
Travelling to <strong>Liverpool</strong> Lime Street from<br />
London Euston takes just over two hours with<br />
Virgin Trains. All routes are operated by their<br />
super swanky 125mph tilting Pendolino and<br />
Voyager trains, each with its own onboard<br />
Shop for those mid-journey munchies,<br />
powerpoints for keeping laptops and mobiles<br />
charged and Wi-Fi so you can tweet, like and<br />
poke to your heart’s content. Just don’t get<br />
too comfortable, you’ll be there before you<br />
know it. Book in advance at virgintrains.com<br />
for the cheapest fares.<br />
Sleeping – <strong>Liverpool</strong> <strong>Biennial</strong> is delighted<br />
to recommend Hotel Indigo <strong>Liverpool</strong>, our<br />
Official Hotel Partner for <strong>Liverpool</strong> <strong>Biennial</strong><br />
2012. This 4-star boutique hotel on Chapel<br />
Street, L3 9AG is inspired by its cultural<br />
surroundings, and is only 5 minutes’<br />
walk from <strong>Liverpool</strong> <strong>Biennial</strong> exhibition<br />
venues, making it the ideal place to stay.<br />
For preferential rates see www.biennial.com<br />
or see advertisement.<br />
Eating – The Monro Group, the Official<br />
Restaurant Partner for <strong>Liverpool</strong> <strong>Biennial</strong><br />
2012, has an excellent reputation for both<br />
its food and its welcoming atmosphere.<br />
The use of the highest quality ingredients,<br />
fresh from local suppliers, demonstrates<br />
it’s commitment to offering a truly unique<br />
experience. The Monro on Duke Street,<br />
L1 5AG is in close proximity to FACT and<br />
the Bluecoat, while The James Monro on<br />
Tithebarn Street, L2 2EN is only 10 minutes’<br />
walk from <strong>Liverpool</strong> Lime Street Station,<br />
the Walker Art Gallery and The Cunard<br />
Building. Call The Monro on 0151 707 9933<br />
and The James Monro on 0151 236 9700<br />
for reservations.<br />
Drinking – Situated just inside Hotel Indigo<br />
<strong>Liverpool</strong>, The Cotton Lounge, with its<br />
signature cocktails, Earl Grey tea and Musetti<br />
coffee with delicious cakes, is the perfect<br />
place to stop for a drink while making your<br />
way between <strong>Liverpool</strong> <strong>Biennial</strong> venues.<br />
We expect the<br />
unexpected.<br />
Stay for £75<br />
(£75 room only, or £80 Bed & Breakfast)<br />
At Hotel Indigo <strong>Liverpool</strong> we offer fresh design, superb service and a<br />
Marco Pierre White restaurant. Our innovative design was inspired by<br />
our local neighbourhood story.<br />
To book this exclusive offer call 0151 224 7765 and quote<br />
‘Group Code LB1’ for the room-only rate or ‘Group Code LB2’<br />
for the breakfast inclusive rate.<br />
For more information visit www.hotelindigoliverpool.co.uk<br />
10 Chapel Street, <strong>Liverpool</strong> L3 9AG Hotel Indigo <strong>Liverpool</strong> @hoteIindigo_liv<br />
34 35
TWO AWARD WINNING RESTAURANTS<br />
The Monro is proud to be a venue for The Unexpected Guest,<br />
hosting work by Janine Antoni, Markus Kåhre and Dane Mitchell.<br />
THE PLACE TO<br />
EAT<br />
THINK<br />
RELAX<br />
DRINK<br />
ENJOY<br />
CHAT<br />
BE.<br />
OFFICIAL<br />
RESTAURANT<br />
PARTNER OF<br />
EXCLUSIVE OFFER<br />
Show this page to our staff<br />
and save £5.00 when you<br />
spend £25 or more.<br />
T & C's apply.<br />
The James Monro 69 Tithebarn Street, L2 2EN | 0151 236 9700 | www.thejamesmonro.com<br />
<strong>Liverpool</strong> <strong>Biennial</strong> is delivered in partnership with<br />
Principal Funders<br />
The Monro 92 Duke Street, L1 5AG | 0151 707 9933 | www.themonro.com<br />
36 37<br />
<strong>Liverpool</strong> <strong>Biennial</strong> was<br />
founded by James Moores<br />
with the support of:<br />
Official Partners<br />
National Travel Partner Visitor Services Partner Official Restaurant Partner<br />
Official Hotel Partner Official Bar Partner Long Night Partner<br />
Official AV Partner<br />
Project Sponsors
Project Supporters<br />
International Agencies<br />
Patrons<br />
Andrew and Liz Collinge<br />
Michael William Halsall<br />
Paul and Elizabeth Reeve<br />
The Steel<br />
Charitable<br />
Trust<br />
This project has been assisted by the Australian<br />
Government through the Australia Council, its<br />
arts funding and advisory body.<br />
Anna Fox and Peter Goodbody<br />
Lesley Horner-Robinson<br />
Nicholas and Alex Wainwright<br />
Supported by the European Media<br />
Art Residency Exchange Programme.<br />
The project has been funded with<br />
support from the European Commission<br />
Kamel Lazaar<br />
Foundation<br />
Galleries<br />
Supporters<br />
Building & Maintenance<br />
Solutions<br />
<strong>Liverpool</strong> <strong>Biennial</strong> would very much like to thank Catrina Hewitson of Vibrant for support<br />
provided through the mentoring programme run by Business in the Arts:North West<br />
Sky Arts Ignition: Doug Aitken – The Source with additional support from Tate <strong>Liverpool</strong> Members<br />
The City States exhibitions are supported by<br />
Birmingham<br />
Copenhagen<br />
G d a ń s k<br />
Hong Kong<br />
City Culture<br />
in Gdansk<br />
38 39<br />
Laznia Centre for<br />
Contemporary Art
Incheon<br />
Lisbon<br />
Makhachkala<br />
Oslo<br />
Reykjavík, Nuuk, Tórshavn<br />
St. Petersburg<br />
Taipei<br />
Vilnius<br />
Wellington<br />
Nordic Culture<br />
Fund<br />
City of Incheon<br />
Vilnius City<br />
Municipality<br />
Billedkunstnernes<br />
Vederlagsfond<br />
Calendar<br />
(P)<br />
Performance<br />
(TK)<br />
Talk<br />
(F)<br />
Film<br />
(W)<br />
Weekend<br />
(T)<br />
Tour<br />
(FM)<br />
Family<br />
(S)<br />
Special Event<br />
14 September<br />
Palestinian Embassy<br />
(P)<br />
Rhys Chatham:<br />
A Crimson Grail (P)<br />
Art Criticism,<br />
Globalisation (TK)<br />
Everton People’s<br />
Park: Fritz Haeg (S)<br />
15 September<br />
Anfield Home<br />
Tour (TK)<br />
Artists in<br />
Conversation (TK)<br />
Everton People’s<br />
Park: Fritz Haeg (S)<br />
Palestinian Embassy<br />
(P)<br />
James Corner &<br />
Laurie Peake (TK)<br />
16 September<br />
Palestinian Embassy<br />
(P)<br />
Everton People’s<br />
Park: Fritz Haeg (S)<br />
Curatorial Tour (T)<br />
17 September<br />
All Are Guests<br />
Talk (TK)<br />
Expert Meeting (TK)<br />
18 September<br />
Talk Tuesday (TK)<br />
Expert Meeting (TK)<br />
Unexpected<br />
Guest Tour (T/S)<br />
Family<br />
Programme (F)<br />
23 September<br />
Curatorial Tour (T)<br />
25 September<br />
The Wolf Knife (F)<br />
Shame (F)<br />
Talk Tuesday (TK)<br />
27 September<br />
RIBA Tour (T)<br />
28 September<br />
George Shaw in<br />
Conversation (TK)<br />
29 September<br />
Anfield Home<br />
Tour (TK)<br />
Family<br />
programme (FM)<br />
Unexpected<br />
Guest (T)<br />
Simon Munnery /<br />
Bedwr Williams (P)<br />
Held: Kevin Hunt (P)<br />
Walk on the<br />
Wildside (FM)<br />
30 September<br />
Curatorial Tour (T)<br />
02 October<br />
Talk Tuesday (TK)<br />
Electronic Voice<br />
Phenomena (W)<br />
Unexpected<br />
Guest Tour (T)<br />
Family<br />
Programme (FM)<br />
The Horse’s<br />
Teeth (T)<br />
07 October<br />
Electronic Voice<br />
Phenomena (W)<br />
Curatorial Tour (T)<br />
09 October<br />
Time<br />
Topographies (F)<br />
Talk Tuesday (TK)<br />
10 October<br />
The Three<br />
Disappearances (F)<br />
11 October<br />
RIBA Tour (T)<br />
13 October<br />
Anfield Home<br />
Tour (T)<br />
LJMU Mobile<br />
Academy (W)<br />
<strong>Liverpool</strong><br />
Improvisation<br />
Collective (W)<br />
Family<br />
Programme (FM)<br />
17 October<br />
Marina<br />
Abramovic (F)<br />
18 October<br />
RIBA Tour (T)<br />
19 October<br />
Long Night (S)<br />
Break Bread Open (S)<br />
Sense of Sound (P)<br />
20 October<br />
Deadline! (P)<br />
Anfield Home<br />
Tour (T)<br />
Young People’s<br />
<strong>Biennial</strong> Question<br />
Mark! (W)<br />
Family<br />
Programme (FM)<br />
23 October<br />
Talk Tuesday (TK)<br />
Family<br />
Programme (FM)<br />
24 October<br />
Understanding<br />
Art (T)<br />
The Wildness (T)<br />
25 October<br />
Understanding<br />
Art (T)<br />
RIBA Tour (T)<br />
Family<br />
Programme (FM)<br />
31 October<br />
Deep State (F)<br />
01 November<br />
RIBA Tour (T)<br />
02 November<br />
John Moores<br />
Painting Prize<br />
Summit (TK)<br />
03 November<br />
Anfield Home<br />
Tour (T)<br />
John Moores<br />
Painting Prize<br />
Summit (TK)<br />
Unexpected<br />
Guest Tour (T/S)<br />
Family<br />
Programme (FM)<br />
07 November<br />
The Creator (F)<br />
08 November<br />
RIBA Tour (T)<br />
10 November<br />
Anfield Home<br />
Tour (T)<br />
Family<br />
Programme (FM)<br />
Symposium:<br />
Reconstruction<br />
Work (T)<br />
Culture Support<br />
19 September<br />
Foundation<br />
The Forgotten<br />
Space<br />
40 41 42<br />
(F)<br />
20 September<br />
RIBA Tour (T)<br />
22 September<br />
Anfield Home<br />
Tour (TK)<br />
The Medium is<br />
the Medium (W)<br />
03 October<br />
Post-revolutionary<br />
Cities (F)<br />
05 October<br />
Electronic Voice<br />
Phenomena (W)<br />
06 October<br />
Anfield Home<br />
Tour (T)<br />
14 October<br />
<strong>Liverpool</strong><br />
Improvisation<br />
Collective (W)<br />
Curatorial Tour (T)<br />
16 October<br />
Redeye<br />
photographers’<br />
Network (T)<br />
Talk Tuesday (TK)<br />
26 October<br />
Understanding<br />
Art (T)<br />
Festival of New<br />
Cinema (F)<br />
27 October<br />
Anfield Home<br />
Tour (T)<br />
Family<br />
Programme (FM)<br />
12 November<br />
Photographer<br />
Surgery (S)<br />
13 November<br />
Talk Tuesday (TK)<br />
14 November<br />
I Remember and<br />
Teenage (F)<br />
15 November<br />
Aaron<br />
Williamson (TK)<br />
16 November<br />
Aaron<br />
Williamson (TK)<br />
17 November<br />
Anfield Home<br />
Tour (T)<br />
Anthony McCall:<br />
<strong>Column</strong> (T)<br />
Aaron<br />
Wiliamson (T)<br />
Drawing<br />
Sessions 2 (W)<br />
Family<br />
Programme (FM)<br />
Unexpected<br />
Guest<br />
Tour (T/S)<br />
18 November<br />
Curatorial Tour (T)<br />
19 November<br />
Expert Meeting (TK)<br />
21 November<br />
Two Years at Sea (F)<br />
The Nine Muses (F)<br />
RIBA Tour (T)<br />
22 November<br />
Mark Morrisroe<br />
Screening (F)<br />
23 November<br />
Changing the World<br />
From Here (W)<br />
24 November<br />
Anfield Home<br />
Tour (T)<br />
Family<br />
Programme (FM)
<strong>Liverpool</strong> <strong>Biennial</strong> 2012<br />
The Unexpected Guest<br />
City States<br />
Bloomberg New Contemporaries<br />
John Moores Painting Prize<br />
Sky Arts Ignition: Doug Aitken – The Source<br />
Anthony McCall: <strong>Column</strong><br />
www.biennial.com<br />
43