I found this fragment of a page in the lane behind my house. Something about it compelled me to pick it up. I’m not sure what book it comes from but it’s very mysterious and intriguing. Finding it instantly conjured up memories of childhood adventures – I felt as if I had stumbled upon a clue, and was about to embark on a part-Famous Five, part-Nancy Drew, part-Treasure Island type quest involving lost treasure maps and strange sounds by night, enigmatic strangers and mysterious happenings. Sadly there have been no further mysterious happenings as yet. However, I’ll keep you posted…
I feel like I’m still recovering from my 36-hour dash around Liverpool for the opening of the 2008 Liverpool Biennial. My feet are certainly still recovering – I think dancing in very impractical heels at the after-party at A Foundation was the straw that finally broke the camel’s back (or perhaps hoof, in this case?).
Anyway, today I am resting. Currently, I am horizontal, or at least as horizontal as it is possible to be whilst typing.
This year’s Biennial explores the theme MADE UP: the power and richness of the artistic imagination, and the ability of art to transport us to alternative realities. There’s lots of fantastic work to see in both the city’s galleries and public realm spaces, engaging and experimenting with notions of fiction, fantasy, make-believe, myth, spectacle, and the tensions between the real and the unreal. I’ve still got lots to see, but here are a few highlights from my fast-paced, foot-destroying tour on Friday:
MADE UP at The Bluecoat is an enjoyable exhibition exploring the relationship between fantasy and everyday life. Sarah Sze’s installation in The Vide is constructed from a series of banal everyday materials which come together to create a fascinating fragmentary landscape resembling both an intricate sculpture and the residue of a whirlwind or explosion. In the upper gallery, Tracey Moffat’s First Jobs depicts the artist undertaking a series of odd jobs from working as a receptionist through to manning the production line at a pineapple cannery. Acid-bright colours transform these mundane images of workplaces associated with boredom and low-pay into a candy-hued, nostalgic vision of the past. Meanwhile, the wonderful Barefoot Lone Pilgrim (aka artist David Blandy) documents his spiritual journey in search of ‘mythical’ American soul singer Mingering Mike through drawings, artefacts and a brilliant Monkey-inspired video, conflating real life and imaginary adventures and identities. Garbage Day by The Royal Art Lodge – a collective of six artists including Marcel Dzama who are known for producing eccentric collaborative works referencing everything from comics through to science fiction – is a natural companion to Blandy’s work, sharing his playful sense of humour. This installation presents a series of over 200 small panels that lead the viewer around the gallery, offering us a series of quirky stories and surreal characters, characterised by bright colours and a naive, illustrative style.
The MADE UP theme continues at Tate Liverpool where curator Laurence Sillars has taken ‘between the real’ as the starting point for a diverse selection of commissions encompassing painting, sculpture, drawing, video and installation. Artists including Adrian Ghennie and Teresa Hubbard and Alexander Birchler penetrate the layers of histories, narratives and memories, whilst works like Omer Fast’s darkly comic video Take A Deep Breath playfully subvert the boundaries between fact and fiction. My personal highlight of the Tate show was The Drawing Room – a gallery space bringing together a wide selection of work by four artists who use drawing as their primary practice. Amongst them, Charles Avery’s fascinating images document the landscapes and inhabitants of an imaginary island partially inspired by childhood memories, whilst the wonderful Rachel Goodyear’s uncanny and beautiful drawings are resonant with myth and fairy-tale.
FACT and Open Eye Gallery both also have intriguing exhibitions exploring the theme MADE UP: FACT’s Creature Creation Station in particular is well worth a visit, offering visitors the chance to re-imagine themselves as a strange, otherworldly creature, whilst upstairs in the bar, Lisa Reihana’s Colour of Sin: Headcase version 2005 invites us to listen to a series of conflicting stories piped through retro 1970s hairdryers.
Meanwhile, in the city’s public spaces, the former ABC cinema on Lime Street is the perfect location for Annette Messenger’s ghostly theatrical installation La Dernière Séance, whilst the back room of The Vines pub, which mixes fruit machines with opulent chandeliers, is a fabulous setting for Gabriel Lester’s film The Last Smoking Flight: images of floating clouds and wafting tobacco smoke are captured and reflected in a succession of mirrors around the room. A little further down the street, Manfredi Beninati’s new site-specific commission offers us a tantalising and uncanny glimpse of a secret life between the facade of an abandoned building covered with posters: a gap in the hoarding allows visitors to peep into an apparently empty apartment, where the remains of breakfast are still on the table and a newspaper lies on the floor. It’s still early days for Yoko Ono’s Liverpool Skyladder, an installation situated in the beautiful ruined church of St. Luke’s, which invites visitors to donate stepladders to create a ‘forest of steps’ reaching up to the sky, but it will be interesting to see how it develops as more ladders arrive. And of course, Richard Wilson’s impressive and wonderfully hypnotic Turning the Place Over is an absolute must-see.
This year’s Biennial has received some mixed reviews: Charlotte Higgins, writing for The Guardian blogs, criticises it as “a patchy event” with “an awful lot of dull, indifferent or bad stuff going on that left me feeling underwhelmed.” Personally, I can’t agree: far from being indifferent or dull, there’s no doubt in my mind that the Biennial has been a real highlight of Capital of Culture, and would absolutely recommend everyone to visit. Just make sure you remember to wear comfortable shoes.
A fortnightly reading group dedicated to reading Karl Marx’s Capital Vol. 1: A Critique of Political Economy will begin on 6 October 2008 at The Salford Restoration Office. Individuals are invited to join the group to read Marx’s Capital Vol. 1 in conjunction with David Harvey’s online lectures. Harvey, a respected academic and writer, has been teaching open classes on the book for 40 years, and the current set of lectures given at the City University of New York have been filmed and made available on-line. The lectures are accessible to all at anytime but the fortnightly sessions at The Salford Restoration Office will create a structured environment in which to read and discuss this pivotal text.
Reading Capital is open to all who wish to attend and participate. Sessions are free of charge, but space is limited so please contact (click here for email address) if you would like to participate.
Participants are asked to provide their own copy of Capital Vol. 1. The Penguin Classics edition and the Vintage Books edition (ISBN 0140445684 and 039472657x) tally with references. Participants are asked to read the chapters covered in each session in advance. Meeting every other Monday from 6 October between 6.30pm and 8.30pm, the sessions will run until 1 December 2008, and begin again on 19 January until summer 2009. Reading Capital is organised by Duncan Hay and The Salford Restoration Office (James Hutchinson and Lesley Young). For more information, go here.
About twice a week I buy a jacket potato for my lunch from a small sandwich shop near my office.
Each time I go in and ask for a jacket potato, the lady behind the counter puts the potato into a styrofoam carton, and then puts the carton inside a brown paper bag with a handle. Also in the brown paper bag are a paper napkin and a plastic knife and fork, which are wrapped in a second napkin.
Each time, I go back to my office and go to the kitchen to get a proper knife and fork to eat my potato with. Experience has taught me that a plastic knife and fork are just not substantial enough to cope with the demands of eating a jacket potato. I normally just throw away my plastic knife and fork.
However, today I worked out that if I have eaten a jacket potato twice a week throughout the time I have worked in my current job, I have so far thrown away 56 sets of plastic knives and forks. I am beginning to feel a bit bad about this. The plastic knives and forks are dancing around in my head in a slightly malevolent way, looking all spiky and accusatory.
The problem is that I can’t really think of anything very useful I could do with all these surplus knives and forks. I don’t think they’re recyclable, and they certainly aren’t any use for eating with.
Perhaps I could preserve each knife and fork in some kind of conceptual artwork, as a statement about the passing of time and a comment on the banality of contemporary lifestyle and work culture. That would work.
Or then again, perhaps I could simply ask the lady in the sandwich shop not to give me a plastic knife and fork anymore.
Sound artist and experimental musician Christopher Gladwin has an exhibition opening at the Chapman Gallery this Saturday from 6.00pm. Paramusical Sound Studies with Video will include works which explore our perceptions of noise by generating amplified sound from ‘everyday’ objects such as… erm… sausages. Or maybe celery. There will probably be balloons and polystyrene making loud and surprising noises. It will be great.
The exhibition launch will be followed by a ‘paramusical’ live performance at Islington Mill from 8.00pm which will also include electro-acoustic performances from guest artists including Ben Gwilliam and Helmut Lemke. Expect the unexpected and bring your own earplugs.
In other good arts-related news, Maeve Rendle has been longlisted for the Northern Art Prize. You can check out some of Maeve’s work here. Also on the list are lots of other fine folk including Simon Blackmore (who is also a member of the Owl Project), Nick Crowe and Ian Rawlinson, and Suki Chan.