Monday, December 6, 2010

"Simon McKeown, one of the UK’s leading digital artists, was named DaDaFest Artist of the Year 2010 for his work ‘Motion Disabled’ which was projected in 17 countries globally yesterday on International Day of Persons with a Disability, including the side of the St Georges Dock ventilation shaft."

, is a must see website for everybody interested in the UK art industry.

By the time Art in Liverpool was established, in 2004, by Ian Jackson and Minako Jackson, Liverpool had reached international focus and was now celebrated for it's vibrant and confident art scene. Tate Liverpool was firmly established and the Walker Art Gallery’s exhibitions had become less formulaic and had more popular. Progress had also been made at grass level with the impact of the Liverpool Biennial. Not only did Art in Liverpool have an interesting art scene to talk about, but their potential audience undoubtedly covered a cross-section of society that 10 and certainly 20 years prior would not have been interested and they continue to communicate with a flare and density that few sites deliver.

Friday, December 3, 2010

Friday, November 26, 2010

Shel Silverstein

There is a place where the sidewalk ends
And before the street begins,
And there the grass grows soft and white,
And there the sun burns crimson bright,
And there the moon-bird rests from his flight
To cool in the peppermint wind.

Let us leave this place where the smoke blows black
And the dark street winds and bends.
Past the pits where the asphalt flowers grow
We shall walk with a walk that is measured and slow,
And watch where the chalk-white arrows go
To the place where the sidewalk ends.

Yes we'll walk with a walk that is measured and slow,
And we'll go where the chalk-white arrows go,
For the children, they mark, and the children, they know
The place where the sidewalk ends.

But soon again the boy came back and he said to the tree,
"I'm now a man and I must have a house that's all my home."
"I can't give you a house" he said, "The forest is my house."
"But you may cut my branches off and build yourself a home"
And so he did.
Oh, the tree was happy.
Oh, the tree was glad.

And time went by and the boy came back with sadness in his eyes.
"My life has turned so cold," he says, "and I need sunny days."
"I've nothing but my trunk," he says, "But you can cut it down
And build yourself a boat and sail away."
And so he did and
Oh, the tree was happy.
Oh, the tree was glad.

Thursday, November 25, 2010

Wednesday, November 24, 2010

Lars Laumann

Open Eye Gallery
28-32 Wood Street
Liverpool L1 4AQ
until November 28th 2010

Lars Laumann makes video essays about people and their complex interior worlds. He points at their strangeness, separateness and need to connect. He explores collisions of individuals, cultures, ways of life and systems of belief. Combining elements of documentary with fiction, poetry and myth, he creates extraordinary stories that plunge us into the lives of his subjects.

Lars Laumann
has been commissioned by Open Eye Gallery and Liverpool Biennial to make a new work - a 45-minute video titled Helen Keller and the great purging bonfire of books and unpublished manuscripts illuminating the dark)'. It uses a range of techniques and approaches to explore filmic and literary adaptation, multiple narratives, censorship and the burning of books. The first part looks at the story of Helen Keller. Born in Alabama in 1880, Keller was an author, lecturer and political activist; she was also blind and deaf.

It uses found footage from an Iranian adaptation of J. D. Salinger's 1963 novelette Franny and Zooey to tell the story of Helen Keller's banned books. The second part looks at a 1960s adaptation of the Swedish author Selma Lagerløf's novel The Wonderful Adventures of Nils. Published early in the 20th century, the novel tells the story of Sweden's history and geography, but excludes an area in the south west called Halland; many believe this was because the author saw it as 'racially impure'. The video's central theme is censorship: Lagerløf 'censored' Halland; Keller was censored for political reasons and accused of plagiarism; Salinger 'censored' himself - he continued to write but did not publish after 1964, and refused all adaptations of his work.

The new commission will be exhibited alongside two existing video works: 'Duett', 2010 and 'Morrissey Foretelling the Death of Diana', 2006

Tuesday, November 23, 2010

Sachiko Abe

photo Julia Waugh

Rebecca Lennon

We Are Stuck Here Together
Ceri hand Gallery
12 Cotton Street
L3 7DY

until November 28th 2010

Rebecca Lennon
’s first solo show at Ceri Hand Gallery draws together the found, the stolen, the forged, the made and the re-made in a series of exchanges and situations, nuanced with an often ritual, misplaced and convoluted drive to connect, act or validate.

Old photos bought by weight of the pile in markets and on eBay, art sent to a debt collection agency as an offering for the debt, a film clip of a man acting out a sleep disorder, and a family member who swam across Morcambe bay in exchange for a wooden chest of drawers, are brought together in a show eating its tail, perpetually shifting between the personal and inauthentic, humour and something darker.

"My Dad gave me my Mum's passport recently as a present. It was printed in 1982, contains 32 pages and has the number 312394 on the front. On the second page the description reads Occupation: Computer Clerk, Place of Birth: Manchester, Country of Residence: England, Height: 5ft 2, Colour of Eyes: Blue, Special Peculiarities: Birth Mark on Left Leg. As a sentimental gesture, I decided to have the description tattooed on my right leg. The tattooist wrote: Join us join us join us join us. Method Actors participate in a group relaxation exercise; propped on chairs, legs straight in front of them - they turn their heads and legs in a circular motion, letting out noises - sometimes short and loud and sometimes quiet and constant, occasionally crying. With the goal of accessing truth to authenticate their act, they unlock their 'instruments' (bodies), discard themselves as 'product' and connect with their 'personal objects' (memories). If an actor is distracted at any point, allowing his or her ego to get in the way of the exercise - the teacher shouts 'Live with me!'".

Monday, November 22, 2010

Long Night Light Night

Light Night back in May saw the city come alive with over 92 events and activities happening all on one night, and we did it all over again for it’s winter counterpart Long Night.

Thursday 18 November 2010 saw over 50 Liverpool venues staying open late into the night, encouraging people of all ages to celebrate the city and it’s culture by seeing it in a different light.

A vast array of venues opened late into the night showcasing a vibrant mix of arts and culture, late night shopping, walking tours and other special events and attractions.

This year, Long Night coincides with the wonderful: Liverpool Biennial

Saturday, November 20, 2010



Left At The Theatre
The Others
Manor road
Stoke Newington
N16 5SA
20 November 2010

We all experience intimate situations.
We all feel closer to some people than others.
How is intimacy created, in reality, in performance, and in relation to one another?
Why do we feel closer to some people than others?
How does comfort work?
Sometimes it’s embarrassing, sometimes it’s beautiful, sometimes it’s problematic.
We all divulge secrets, expect trust and allow other people to access our most sentimental thoughts and feelings
We all experience intimate situations.
See the following people at INTIMACY (TBC):

Gareth Llŷr, Joanna Crook, Claire Blundell Jones, Kimbal Bumstead, Hannah Forbes Black,Benjamin Sebastion, Mia A Farrell, Holly Walker, Hardeep Pandhal, Colin Michel, Tim Gee, Russell Callow, Todd Atticus, Left at the Theatre (Rachel McCarter & Andrew Roberts), Richard Makin, Paula Davy, Matthew Lee Knowles, Tiffany Charrington, Antonia Beck and Kim Burnett,Pacer (band), Guy Harries, plus many more suprises.

Marlene McCarty

Wednesday, November 17, 2010

Do Ho Suh

Bridging Home is a scale model of the artist's own Korean house from his childhood wedged between two buildings on Duke Street, Liverpool.

More recently, Do Ho Suh has explored the possibility of coming to terms with his divided cultural background through syncretic elements that integrate eastern and western influences. Moving against the notion of cultural clash (that is to say two worlds or civilisations colliding), he is currently envisioning a new cultural and visual domain, which results from the fusion of his diverse and, at times, conflicting experiences. The seeds of the artist’s process of hybridisation now fertilise the British soil with this new commission for Touched, Bridging Home.

Do Ho Suh
is part of Touched in the public realm:
Between 84-86 Duke Street

An Insightful Look At New Contempories Among Many Other Things

You might be interested to know that I’m writing this in Afoundation and that, despite it being close to freezing in the New Contemporaries exhibition, I’m sweating. Is it because I’ve just been looking at the Patrick Coyle piece, This Works – which is just graphite pencil on the wall which reads, “This Works is extremely fragile, Please do not touch.” For some reason it put me in mind of my first piano teacher, which is enough to make anyone break out in a cold sweat, but no, that’s not why I’m sweating.

Has everyone here seen Toy Story 3? Remember this? That’s why I’m sweating. Just like Buzz and the gang I got the shock of my life a moment ago and I suppose to explain why we need to talk about this morning.

I spend a lot of time in the public realm, this morning I was in Raymond Pettibons garage on Wood Street. I like it there, its home to My little red flip book and a video piece called Sunday Night and Saturday Morning. The video is from 2005 but the paintings were done specifically for the Biennial, apparently there is quite a good story behind them involving lots of red wine. Funny how all the best stories include red wine. I am clueless about art but I like the animation and some of it is really funny. If you can stand the cold it’s worth sitting through the whole hour. It’s quite cryptic but what art isn’t?

I particularly like the reference to Dennis “Beach Boys” Wilson, “Dennis you’re the only one who can surf, Dennis you’re the only one who can’t sing.” This is particularly meaningful to the residents of my flat because “Dennis Wilson- Pacific ocean blue” is the equivalent to the Marvin Gaye LP my dad breaks out on special occasions, very special occasions. Yep, when Dennis is rocking, don’t come knocking. In fact, if Dennis is rocking, just stick Born to Run on your head phones and reach for the whiskey.

Anyway, this is meant to be about volunteer experiences not volunteer “experiences”. So as I was saying, I spend a lot of time in the public realm so when Joёl comes over the radio warning “all volunteers, there is a large group moving through the building so be prepared.” I get all smug, sip on my luke warm tea and proclaim to whoever I’m with (this morning it was Craig), “Mugs, listen to them making mountains out of molehills.”

This brings us back to Afoundation, New Contemporaries, Toy Story 3 and me, sweating. I experienced my first large group, they were foundation year art students and they tore through the building like a tornado, I was all “Don’t touch anything!”, “Please don’t run!”, “No horse play!” I sounded like a teenage life guard trying to control Wavertree pool during the inflatable fun afternoon. I now have a sore throat. Luckily nothing has been damaged, which is good, because I’d quite like to come back.

This is another guest blog is written by Doug Herbert, a Liverpool Biennial Volunteer Information Assistant as well as model for Daniel Knorr’s The Naked Corner.These are his personal perspectives on his experiences invigilating the works in Bloomberg New Contemporaries, Afoundation, and the Wood Street garage.

The stuff here is good, I like the Nathan Barlex paintings for no other reason than I like the colours, (how valuable you must find my in-depth analysis of art) and I like Untitled by Daniel Lichtman, it reminds me of The Catcher in the Rye. If you’ve read it you’ll know the books main protagonist, Holden Caulfield has a thing against phonies, well the two artists commissioned by the Biennial here are anything but phonies. Antti Laitinen built a boat out of old tree bark from his native Finland and sailed the thing across the Mersey, having just seen it I’ll tell you I wouldn’t even sit on it. His exhibition is great. There’s a video of Antti building an island out of sand bags, I don’t know why he did it but I’m glad he did.

I also don’t know why Sachiko Abe has decided to dedicate 10 hours of her day everyday for two months to cutting paper into tiny strips, the accompanying sculpture is beautiful and Paper Clouds is amazing. I don’t know why she’s doing it, but again I’m glad she is. It’s my highlight of the biennial so far and I have no idea why. Coming from a man sat sweating in a freezing cold warehouse watching a video of Emma Hart playing Dice with the sea I’m not sure how much weight can be put behind this statement but to paraphrase my friend Joe, artists be crazy.

Wednesday, November 10, 2010

Legacy 1

Salmon Court
Formans Smokehouse Gallery
Stour Road
Hackney Wick
E3 2NT
until 5th December

The affective bond between people and place, is the primary theme of LEGACY I. Examining environmental perceptions and values at different levels:

Legacy I will take place within Salmon Court. The court itself offers a foundation to respond to the historical and industrial qualities of the area as well as being in close proximity to the Olympic stadium, the beacon for development and change within Hackney Wick.

The exhibition will respond on many levels to the industrial and temporal characteristics of the area with the artists considering the shifting environments within Hackney Wick from a dialectical perspective, distinguishing different types of environmental experience.

Legacy I offers emerging and mid career artists the opportunity to exhibit large scale and site specific works. It aims to be an annual event in the East London Arts calendar, supporting and encouraging critical debate within the arts and bringing in to focus the effect of regeneration to artistic communities such as Hackney Wick.

Paul Carter ,Alex Chinneck, Nathaniel Rackowe, Thomas Ireland, Tommy Støckel, Oliver Palmer, Molly Smyth, Noel Clueit, Charlotte Becket, Emma Barrow, Gabriele Beveridge, Simon Davenport, Hannah Brown, Sally Wright, Thomas Adank, Robin Shepherd, Craig Barnes, Myles Painter, Ralph Dorey, Daryl brown, Melissa Hinkin, Jamie Partridge, Charlotte Warne Thomas.

Tuesday, November 9, 2010


Grey Area
31 Queens Rd
East Sussex
8th - 28th November 2010

Grey Area presents Occupant, a series of 3 week long artist residencies within the gallery which will each culminate in the making of new work and a public event.

The residencies will take place during successive weeks in November 2010, providing 3 selected artists/groups with the opportunity to occupy the gallery from Monday-Sunday of that same week.

Grey Area
will provide each Occupant with the staples of space, tools, a timescale, and a set of keys.

The parameters for what might constitute an outcome for the Occupant residencies are flexible and permeable. As much a process of the studio as of the gallery.

Participants are invited to consider how their project may or may not be constituted as an object, subject, event, or non-event.

Occupant tbc
8th - 14th November 2010

Occupant tbc

15th - 21st November 2010

Occupant Carolyn Arnold
22nd - 28th November 2010

As each residency will have different times and degrees of public engagement, additional information on residency events will follow with little warning as the week of an Occupant takes shape.

Grey Area was originally founded as a dual studio/gallery, and so Occupant marks a return of sorts – to concurrent processes of making and display. To occupy is to seize - a week, a residency, an exhibition. Or all 3.

Sunday, November 7, 2010


Chelsea Theatre
World's End Place
Kings Road
SW10 0DR
Friday 22 October - Saturday 20 November 2010

SACRED: US Radical
A season of contemporary performance.


Workshop: Manuel Vason - From Image to Presence Postponed until Spring 2011

Young Jean Lee's Theater Company - Pullman, WA Tue 26 & Wed 27 October 8pm

Marisa Carnesky and Rasp Thorne
- The Quickening Of The Wax Fri 29 - Sun 31 October 8pm

Late Night Cabaret Fri 29 October 9.45pm til late (in the bar)

Workshop: Julia Bardsley & Andrew Poppy - Nearly Different Sat 30 & Sun 31 October 10am-5pm

Julia Bardsley & Andrew Poppy
- Almost the Same (feral rehearsals for violent acts of culture) Tue 2 - Thur 4 November 8pm (limited capacity)

Workshop: Marisa Carnesky- Dystopian Tableaux Vivant Workshop Sat 6 2pm-6pm & Sun 7 November 10am-6pm

Chris Dobrowolski - Antarctica Sat 6 November 5pm (limited capacity)

Robin Deacon - Robin Deacon presents Stuart Sherman's
'Hamlet' (A Portrait) Sat 6 November 8pm

Leibniz - Passion/Flower Sun 7 November 8pm

Natasha Davis - Suspended Mon 8 November 8pm

Stacy Makishi - The Making of Bull: The True Story Wed 10 November 8pm

New York City Players - ADS Fri 12 & Sat 13 November 8pm

David Hoyle's Factory: A Sweat-Shop for The Soul Fri 12 & Sat 13 November 9.45pm til late (in the bar)

One Day Symposium Sat 13 November 9.30am - 9.15pm

Cupola Bobber - Way Out West, The Sea Whispered Me Sun 14 November 6pm

Sara Juli - The Money Conversation Tue 16 & Wed 17 November 8pm

- So below (working title) a work-in-progress Sat 20 November 3pm

Thursday, October 28, 2010


The Horse Hospital
Colonnade, Bloomsbury
London WC1N 1JD

until - 30 October 2010

HUNG – an exhibition curated by Stuart Sandford
Bruce LaBruce // Slava Mogutin // Walter Pfeiffer // Conrad Ventur // Paul Mpagi Sepuya // Gio Black Peter // Brian Kenny // Billy Miller // Jan Wandrag // Jesse Finley Reed // Stuart Sandford

HUNG is an exhibition curated by the artist Stuart Sandford featuring photographic, video, installation works and works on paper. The show brings together a group of both emerging and established international artists whose work explores ideas of sex and sexuality and the male form. Taking inspiration from the LA and NYC sex clubs and gay movie theatres of the 70s and 80s, the exhibition space will be transformed into a place where sex, money and the smell of amyl nitrate are the order of the day.

Thursday, October 21, 2010

Tatsumi Orimoto In Conversation With Mark Waugh

Saturday 16 October, 2pm
Permanent gallery
20 Bedford Place

In this conversation with Mark Waugh, Executive Director of A Foundation and Curator of Tatsumi Orimoto’s recent retrospective in the UK which included hundreds of documentary photos and video works of Orimoto’s recorded performances, Orimoto will reveal the motivations and meanings behind his work, and explain the processes of his creative activities, as well as the relation between his work, his personal life and society.

Orimoto lives and works with his mother Odei Orimoto in Kawasaki City, Japan. He has shown extensively in exhibitions and major museums across Asia, Europe, USA, and South America.

This event accompanies Live in Translation by Tatsumi Orimoto: a single billboard poster, at 30 North Road, Brighton, as part of the Brighton Photo Fringe.

This event is kindly supported by Moshi Moshi Brighton.

Tuesday, October 19, 2010

Saturday, October 16, 2010

Tatsumi Orimoto - Bread Man Talking

The Japan Foundation, London
Russell Square House
10-12 Russell Square

15 October 2010

Tatsumi Orimoto is a leading name in the global performance art scene known for his seemingly bizarre work in which he deals with everyday life, ageing and questions of communication. Orimoto’s persona of Bread Man, whereby he appears with his face obscured by bread, is a clear example of what Orimoto describes as “communication art” and attracts many bewildered and curious looks from passers-by as they are invited to engage in his world.

Together with other works such as the more moving Art Mama, in which his mother who suffers from Alzheimers is the main subject, Orimoto condenses in his work his interpretation of reality and true life by surrounding us with scenes of calculated absurdity and dry humour.

In this illustrated conversation with Mark Waugh, Executive Director of A Foundation and Curator of Tatsumi’s recent retrospective in the UK which included hundreds of documentary photos and video works of Tatsumi’s recorded performances, Tatsumi will reveal the motivations and meanings behind his work, and explain the processes of his creative activities, as well as the relation between his work, his personal life and society.

This event offers a very unique recounting of Tatsumi’s highly respected artistic career which spans from the 1970s and has seen him delight and intrigue audiences wherever he goes, from international exhibitions such as Venice Biennale to the streets of London.

Tuesday, October 12, 2010

Touch Village

A Foundation Liverpool
67 Greenland Street
Liverpool L1 OBY

9th October 2010

Visitors to the A Foundation on the 9th October were invited to cruise the alleys and windows of Touch Village – an interactive performance installation that explored the possibilities of documenting intimacy and human contact in performance. The village is a web of interactive situations, which leads visitors on their own journey, through which they can explore themselves and the limits of performer-participant relationships.

Touch Village was a curatorial project by Kimbal Bumstead in collaboration with a group of selected interactive artists, Hedva Eltanani, Jack Ridley, Baptiste Croze, Heather Jones, Matthew Kay, Lynn Lu, Richard Taylor, Alexandra Zierle, Paul Carter and The Mysterious DJ Collective.

Touch Village was a durational work, its individual elements unfolding over the course of the evening. Structured around a central installation, seven separate performances proposed intimate situations. The encounters leave traces and products behind which witnessed these shared moments. Visitors to the village were free to explore and participate in the process of touching and being touched. Like all good villages, there was a friendly bar with live music…

Thursday, October 7, 2010


Drawing Paper is a not for profit newspaper based publication concerned solely with drawing.

The purpose of this blog is to function as a supplement to the printed edition. We're keen to make it rich in quality drawing based content so if you've got something interesting you'd like to share with us please send it to (files should be JPEG's at 72dpi upto 2mb).

Please note, all submissions are subject to editorial control – some work is of more interest to us than others. Please refer to previous posts for an indicator of our preferences.

Drawing Paper was conceived and designed by Mike Carney and Jon Barraclough, Liverpool UK. //

Drawing Paper 2 has recently been published. If you'd like a copy please send an A4 self addressed envelope with £1.20 second class postage (UK addresses only) to Mike Carney, 26 Moss Street, Garston, Liverpool L19 2NA. If you're overseas please email us your address and send £5 via Paypal to

Sally O’Reilly - The Body In Contemporary Art

Although now rather well worn, the phrase ‘the personal is political’ continues to be relevant for contemporary artists, sinse it encapsulates the potential for an individual to represent, by example, such wider issues as cultural difference, historical context, sexual preference, racial differentiation and the transgression of gender roles.p79

Autobiography is a powerful genre for provoking empathy in an audience, and it can provide a direct way of speaking out against objectification and categorization. Autobiography implies an urge to communicate a personal narrative, whose intimacy can at times be shocking, to both productive and damaging ends.p84

The body as a site of common physiological experience makes it an excellent tool for inspiring empathy. While autobiography, as we have seen, can be a way of appealing to our shared biographical or cultural experiences, it is notoriously difficult to pitch: the work must be neither overly didactic or emotive, nor so ambiguous that it is open to misinterpretation.p189-p190

Today[...]this insistence on the artwork as independent and self-contained has been almost entirely replaced by its opposite. Not only is the presence of the audience acknowledged, but the individual’s power to generate meaning is actively encouraged. The image of an impassive audience consuming static art infused with fixed meaning by an authoritative artist has given way to a reciprocal and conditional situation in which ambiguity scuppers meaning, so that the artist, artwork and viewer together negotiate an intellectual and sensory experience.p192,p193

In the West, too, a genre of participatory and socializing art has developed in response to perceived fragmentation within society, as members of communities have withdrawn from one another as a result of complex socio-economic and political factors.p194

Simon Pope holds the view that a person represents an active archive, producing, storing and reproducing information through his or her passage through society and ever-changing relationships with place. A number of his participatory performances recall the ancient connection between walking and remembering.

Sociability as a medium has become entrenched in contemporary practice, although its emergence can be traced further back than one might think. Although the last fifteen years have been identified as the period when relational aesthetics have been identified as the period when relational aesthetics became established, artists were orchestrating situations for social engagement in the 1970s, as in Tom Marioni’s FREE BEER (The Act of Drinking Beer with Friends is the Highest Form of Art) (1970-79)p200 – p202

Wednesday, October 6, 2010

Emily Wardill

The films of British artist Emily Wardill are brilliant cinematic labyrinths. Visually striking and playfully rigorous, they draw upon an array of sources– underground theater, psychoanalytic case studies, the writings of Friedrich Nietzsche and Jacques Rancière, and even the game logic of Nintendo Wii–to pose fundamental questions about vision, representation, and media and their role in how we come to know ourselves. Wardill has been the recipient of much recent critical acclaim: Tate Modern film curator Stuart Comer rated her film The Diamond (Descartes’ Daughter) (2008) as one of his top ten picks of 2008 and The Guardian newspaper deemed her its “artist of the week.”

Film London and Channel 4 in association with the UK’s Whitechapel Gallery have announced that the winner of this year’s Jarman Award is Emily Wardill.

Wardill was announced as the winner of the award at an event at the Whitechapel on Tuesday, October 5, following screenings of work by Wardill and the other 2010 shortlisted artists Spartacus Chetwynd, Ben Rivers, and Zineb Sedira.

Wardill receives a ash prize and a broadcast commission to make four artworks for Channel 4’s Three Minute Wonder strand. The rest of the shortlist receive $1,600 each. This year’s jury included: John Akomfrah, filmmaker; Iwona Blazwick, director of the Whitechapel Gallery; Avi Grewal of Channel 4 documentaries; Mark Rappolt, editor of ArtReview; artist Gillian Wearing; and Stuart Comer, film curator at Tate Modern.

Friday, October 1, 2010

Liverpool Artist's Book Fair 2010

Saturday 2 October 12-6pm
A Foundation
67 Greenland Street
Liverpool L1 OBY

A Foundation is pleased to host the Liverpool Artist's Book fair for the 2nd year running. The fair will be a vibrant platform for stall-holders to present an extraordinary array of artists' books, zines and other paper-based works, many of which will be for sale.

Monday, September 27, 2010

Saturday, September 18, 2010

Liverpool Biennial 2010: Touched Conference - John Moores University

Liverpool John Moores University
Art & Design Academy
Duckinfield Street
L3 5YD
18 September 2010

11:00 - 12:30

The conference is part of Touched, the International exhibition for Liverpool Biennial 2010, running from 18 September until 28 November.

From the organisers:
As the story of Doubting Thomas tells us, to touch is the mark of truth, the most intimate gesture and the greatest commitment. To touch or to be touched is the performance of truth, when incredulity is displaced and the world condenses into a moment of all enveloping realisation, changing everything. But let us not limit touch to mean touch physically, even that lowliest of senses, smell, can touch us deeply. To be touched arrives unexpectedly though every sense – including thought itself – locating our most intimate moments in space and time. How to live by these moments where strength and vulnerable.

Performing Truths - Moderated by Mark Waugh, Director of Afoundation and Co-director of the International Curators Forum (ICF)

Particpants: Tehching Hsieh (artist), Alfonso Lingis (philosopher and Professor of Philosophy Emeritus of Penn State University), Coco Fusco (artist, writer and Chair of the Fine Art Department at Parsons/The New School for Design), Tania Bruguera (artist)

12.30-13.30: Lunch

13.30- 15:00 : Between the Senses - Moderated by Peter Gorschlueter, Former Head of Exhibitions and Displays Tate Liverpool, now Deputy Director of the Museum of Modern Art Frankfurt.

Participants: Steven Connor (writer, critic, broadcaster and Professor of Modern Literature and Theory, Birkbeck College, London), Tony Chakar (artist, architect and writer), Jamie Isenstein (artist), Danica Dakic (artist)

15.00-15.30 : Tea

15.30-17.00 : The Beauty of Commitment (working title) - Moderated by Lorenzo Fusi, Curator Liverpool Biennial

Participants: Freee (artist), Minerva Cuevas (artist), Alfredo Jaar (artist), Will Kwan (artist)

Friday, September 17, 2010

Sachiko Abe

A Foundation Liverpool
67 Greenland Street
18 September - 28 November 2010

Sachiko Abe’s work encompasses, performance, drawing, film and sculptural installations using cut papers accumulated over the last seven years. Her practice explores duration, repetition and constraints. She will be performing at A Foundation for the Touched - The Liverpool Biennial and exhibiting drawings she has completed during her residency in the city. A Foundation has commissioned a film by Ben Rivers that will be shown during each performance.

This is a paradox as she first started creating artworks after leaving the Self Defense Forces in Japan because ‘the life of artists seemed so free.’ Her work since 1997 has explored the regimes of subjectivity which are imposed by society, most explicitly in her series of performance works.

Elevator Girl Friend in which she acted outside of the conventional behaviour of the demure elevator assistants who were a common sight in big department stores.

Abe says of this work, ”While the job sounds boring, it was a “dream job” for young girls because it was believed then that only the most beautiful and elegant person could be assigned to be an elevator girl.”

Her more recent works continue to explore disquieting routines that provoke anxiety and touch us in ways we cannot explain. In Cut Papers Abe invites the audience to experience an intimate space in which the constant snipping of scissor blades is the only measure of time passing. At A Foundation Liverpool Abe will perform for the duration of the Biennial but be warned Abe says. “My work is neither beautiful nor meditational.” Rather it is an aesthetic paradox that locates the artist at the center of a field of reciprocal subjectivity, she is an object of the gaze that returns the subject to themselves by activating a feedback loop.

Cut Papers is a series of works that create a surplus of meaning within an apparently simple aesthetic economy. It is this scenic space of perception and production that is the focus of the work. Abe will present the performance in an environment of large scale sculptural interventions in the Furnace gallery and a new large scale drawing work produced during her 2010 residency with A Foundation funded by the Pola Foundation. An intricate graphic weave produced by intensive durational periods of drawing which might be best apporached through the dimension of the fold as expressed by French Philosopher Gilles Deleuze. Like Cut Papers Abe’s drawings invite us to contemplate the intensity of ideas which accumulate and are disseminated in the transformation of a white sheet of paper into medium of communication.