Liverpool Biennial 2016

Gu de Festival of Contemporary Art 9 July – 16 October Free

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1 ABC Cinema Lime Street and Elliot Street L1 1JN 2 Cains Brewery Stanhope Street, L8 5XJ

3 The Oratory Liverpool Cathedral St James Mount, L1 7AZ

4 Saw Mill Parr Street, L1 4JN

5 Tate Liverpool Albert Dock Liverpool Waterfront L3 4BB

6 FACT 88 Wood Street, L1 4DQ 7 Open Eye Gallery 19 Mann Island Liverpool Waterfront L3 1BP

8 Bluecoat School Lane, L1 3BX

9 Exhibition Research Lab John Lennon Art & Design Building, Liverpool John Moores University Duckinfield Street, L3 5RD

10 George’s Dock Ventilation Tower Plaza George’s Dock Way, L3 1DD

PA R T N E R E X H I B I T ION S

11 Liverpool ONE Paradise Street, L8 8JF 12 Derby Square L1 7NU 13 Exchange Flags L2 3YL 14 Toxteth Reservoir High Park Street, L8 8DX (Open Saturday and Sunday) 15 Granby Four Streets 143 Granby Street, L8 2UR

23 John Moores Painting Prize Walker Art Gallery William Brown Street L3 8EL 8 Bloomberg New Contemporaries 2016 Bluecoat, School Lane L1 3BX

Centre for Chinese Contemporary Art Market Buildings 13 Thomas St Manchester, M4 1EU

16 Welsh Streets Kelvin Grove and High Park Street, L8 3UG

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Granby Workshop

Welsh Streets Rhiwlas Street, L8 3UA

142 Granby Street, L8 2US

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Epic Hotel 75 Duke Street, L1 5AA

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Mr Chilli Restaurant 92 Seel Street, L1 4BL

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Roscommon Street, L5 3NG

Master Chef Restaurant Renshaw Street, L1 2SJ

Mersey Ferries Terminal

21 Hondo Chinese Supermarket 5–11 Upper Duke Street, L1 9DU

22 Liverpool Biennial Associate Artists India Buildings 31 Water Street, L2 0RD

Pier Head, Georges Parade L3 1DP

Liverpool Biennial 2016 9 July – 16 October Free

14 weeks of exhibitions, performances, films, talks and family events, taking place across Liverpool’s public spaces, unused buildings, galleries and museums

Biennial Exhibition Partner Exhibitions Annual Commissions Performance & Public Programme Visitor Information Funders and Supporters Events Calendar is on the inside back cover

#Biennial2016 @biennial @liverpoolbiennial www.biennial.com

p.3 p.33 p.39 p.43 p.55 p.62

2 Liverpool Biennial 2016

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Introduction Welcome to the 9th edition of Liverpool Biennial. Liverpool Biennial 2016 explores fictions, stories and histories, taking viewers on a series of voyages through time and space, drawing on Liverpool’s past, present and future. These journeys take the form of six ‘episodes’: Ancient Greece, Chinatown, Children’s Episode, Software, Monuments from the Future and Flashback. They are sited in galleries, public spaces, unused buildings, through live performance and online. Many of the artists have made work for more than one episode, some works are repeated across different episodes, and some venues host more than one episode. For Liverpool Biennial 2016, a Curatorial Faculty has been assembled to work together, sharing different interests and expertise. I am grateful to all of them for participating with me in such an open and collaborative process. For the first time, artists have worked together with children to produce new work for the Biennial. An exciting new partnership with Arriva North West has enabled us to commission artists to paint three working buses that will be in service in the region during the Biennial. We are excited to be collaborating with CACTUS and Independent Curators International to present work by ten Associate Artists who are participating in a new long-term programme of mentoring and research. We are once more delighted to present the John Moores Painting Prize and Bloomberg New Contemporaries, which have both been partners of the Biennial since the first edition in 1999. Tate Liverpool, FACT, Open Eye Gallery, Bluecoat, The Centre for Chinese Contemporary Art and Liverpool John Moores University’s Exhibition Research Lab are our exhibition partners and we are grateful to them for their collaboration. We are also grateful to our many supporters and in particular Arts Council England and Liverpool City Council for their continued support. There are many organisations presenting exhibitions and projects in the city concurrently with the Biennial. They have been listed in a separate guide. Sally Tallant, Director

Visitor Information We hope you enjoy your stay in Liverpool as you explore the Biennial exhibitions and events. Visit our Visitor Hub at Cains Brewery, Stanhope Street, L8 5XJ. It is open daily from 10am – 6pm. For exhibition opening times, please consult individual venue pages in the guide or www.biennial.com Contact Us +44 (0)330 123 0584 visit@biennial.com Booking Information Entrance to exhibitions and events is free unless stated otherwise. Where booking is required, visit www.biennial.com Connect #Biennial2016 @biennial @liverpoolbiennial /liverpoolbiennial Share your photos with us using #Biennial2016

Liverpool Biennial 2016

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Bie nial Exhibiti n Ancient Greece Chinatown Children’s Episode Monuments from the Future Flashback Software

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Artists Lawrence Abu Hamdan Andreas Angelidakis Alisa Baremboym Lucy Beech Sarah Browne & Jesse Jones Mariana Castillo Deball Yin-Ju Chen Ian Cheng Marvin Gaye Chetwynd Céline Condorelli Audrey Cottin Koenraad Dedobbeleer Jason Dodge Lara Favaretto Danielle Freakley Coco Fusco Fabien Giraud & Raphaël Siboni Hato Ana Jotta

Samson Kambalu Oliver Laric Mark Leckey Adam Linder Marcos Lutyens Jumana Manna Rita McBride Dennis McNulty Elena Narbutaite Lu Pingyuan Michael Portnoy Sahej Rahal Ramin Haerizadeh, Rokni Haerizadeh & Hesam Rahmanian Koki Tanaka Suzanne Treister Villa Design Group Krzysztof Wodiczko Betty Woodman Arseny Zhilyaev

Curatorial Faculty Sally Tallant Dominic Willsdon Francesco Manacorda Raimundas Malašauskas Joasia Krysa Rosie Cooper

Polly Brannan Francesca Bertolotti-Bailey Ying Tan Sandeep Parmar Steven Cairns

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Biennial Exhibition 5

Episodes

The Black-E and Chinese Arch. Photo: Shirlaine Forrest / Getty Images

A NC I E N T GR E E C E

C H I N AT OW N

In the early 1800s, architects such as John Foster and Harvey Lonsdale Elmes built Liverpool’s neoclassical cityscape as a second version of Ancient Greece. This allowed the rising elite of merchants who benefitted from colonial trade and the industrial revolution to fashion themselves, and their civic commitment, as a reenactment of the legendary cradle of democracy. In the Walker Art Gallery there is a watercolour by Samuel Austin, made in 1826, that continues this fiction. Depicting Carthage in ancient times, Austin uses Liverpool’s neoclassical buildings as a backdrop. This collapsing of space, time and stories mirrors the way in which the Ancient Greeks imagined and depicted their own myths on friezes and vessels. They didn’t tell stories with a beginning, middle and end, but depicted many stories in parallel, showing how multiple things happen at once, on a single plane.

Liverpool’s Chinatown has existed since the late 1890s and is the oldest in Europe. Its entrance is marked by a traditional arch imported from Shanghai. In the same way that the city’s merchant class linked itself to Ancient Greece through neoclassical architecture, this arch links Liverpool’s Chinese community to an image of home. Chinese immigration was, as with many migratory fluxes today, motivated by geographical labour demands and like the Greek fiction beneficial to Liverpool’s ruling class, Chinatown was beneficial to sailors and workers from a different continent. But as China itself changes, this architectural arch also shifts meaning. Many now see Chinatown as a nostalgic image of something that has become more dispersed, and that might even exist primarily in online networks, or through economic investment. Throughout Liverpool Biennial 2016, echoes of these different Chinatowns resound in spaces across the city.

T he Oratory

Tate Liverpool

10 George’s Dock Ventilation Tower Plaza

Cains Brewery 19 20 21 Public Spaces

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Marvin Gaye Chetwynd, filming for Dogsy Ma Bone, 2016. Courtesy the artist and Sadie Coles HQ, London. Photo: Pete Carr

C H I L DR E N ’S E P I S ODE

MON U M E N T S F R OM T H E F U T U R E

Children imagine the space between fiction and reality differently from adults, sometimes making no distinction between the two. They experiment with forms of social organisation constructed by adults, inventing new rules, and simultaneously creating new futures. For the Children’s Episode, artists have been invited to consider children as the primary audience: sometimes making work with them, sometimes for them.

For this episode, artists have been asked to assume the role of futurologists. They were invited to imagine what Liverpool might look like in 20, 30 or 40 years, and to design a monument for these scenarios. As a result, a series of public art commissions travel across time, appearing to be from the future but situated in the present.

Cains Brewery

11 12 13 14 15 16 17 18 Public Spaces

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Biennial Exhibition 7

F L A S H B AC K

S OF T WA R E

A flashback is a way of experiencing history as it punctuates the present unexpectedly. Flashbacks can rupture established narratives and provide new understandings of the past. For instance, a building designed with the image of Ancient Greece in mind can help tell a story about another city thousands of years later, and the emergence of childhood memories in adulthood can help the understanding of new social realities. In this episode, which was prompted by a conversation with Krzysztof Wodiczko, artists interpret flashbacks through film and the exhibiting of artefacts that travel through time from a different reality to interrupt our own.

Software is usually considered as something functional, such as programmes, instructions or rules that direct the computer to perform specific operations, but it can also open a portal to other dimensions and imagined worlds. This episode points towards a broader understanding of software beyond technical application to ideas of scores and choreographies, through which one thing affects another without practical outcome. These scripts, running through the Biennial, generate additional and unexpected content and behaviour, create parallel understandings of art and life, and expand and produce new social forms and possible worlds. The episode opens up perspectives and aesthetic experiences for ‘users’, activating multiple portals that offer the ability to leap from one world to another, from everyday reality to the ‘nethersphere’ of computation and abstraction.

A BC Cinema

FACT

Cains Brewery

Open Eye Gallery

Saw Mill

FACT

Bluecoat

12 Public Spaces

Exhibition Research Lab

Online

Ian Cheng, Emissary Forks at Perfection (detail), 2015. Courtesy the artist, Standard Oslo and Pilar Corrias

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F L A SH BACK

ABC Cinema 9 July – 16 October 1

Open daily 10am – 6pm, Free Lime Street, L1 1JQ

Fabien Giraud and Raphaël Siboni, The Unmanned (1922 – The Uncomputable), 2016. Courtesy the artists

The ABC Cinema is a Grade II listed building in the Art Deco style that first opened its doors to the public in 1931. The last film shown there, in 1998, was Casablanca. As part of the Children’s Episode, Samson Kambalu invited a group of children to imagine this film’s content. The experiment is part of Kambalu’s concept of ‘Nyau Cinema’, which subverts the conventions and limitations of everyday life. Fabien Giraud and Raphaël Siboni’s film series The Unmanned recounts a history of technology in reverse. The Unmanned includes an account of the Earth’s dismantling in 7242, the discovery of California by conquistadors

in 1542, and, in 2045, the moment at which machine intelligence overtakes human intelligence. The most recent episode, 1922 – The Uncomputable, which reflects on Lewis Fry Richardson’s attempt to build a huge weather-forecast factory, has been commissioned for this year’s Biennial as part of the Flashback episode. Every Tuesday, The Unmanned series plays in its entirety. When the films stop playing, the ABC Cinema undergoes a transformation. Marcos Lutyens’ voice permeates the space, and sculptures by Lara Favaretto, Rita McBride and Ramin Haerizadeh, Rokni Haerizadeh and Hesam Rahmanian emerge from the Chinatown episode.

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Biennial Exhibition 9

CHILDR EN’S EPISODE / CHIN ATOW N / F L ASHBACK

Cains Brewery 9 July – 16 October 2

Exhibition and Visitor Hub open daily, 10am–6pm, Free Stanhope Street, L8 5XJ

Beneath Cains Brewery is a lake that is 40 feet deep. It is rumoured that employees of the brewery used to row boats there, and in 1995 a diver found carved graffiti on the wall dating to 1864, 13 years before work began on the red brick building above. As you walk through the brewery’s canning hall, you will encounter a number

Cains Brewery. Photo: Shirlaine Forrect / Getty Images

of episodes, including Chinatown, Flashback and the Children’s Episode. At the centre is the large structure Collider, designed by Andreas Angelidakis, inspired by the Large Hadron Collider – a giant instrument that operates at the boundaries of scientific knowledge. Angelidakis’s structure divides the space into different episodes.

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Chinatown, the first episode you come upon, is entered through a portal made by Céline Condorelli. Chinatown contains work made on site by Ramin Haerizadeh, Rokni Haerizadeh and Hesam Rahmanian, who have sent to Liverpool objects, props, films and works from their art collection. These items have been ‘smuggled’ by sea in a shipping container from Dubai, where the Iranian artists are currently living in exile. Nearby, Audrey Cottin’s Flour Tables invite you to tell a story using the medium of dough, recorded by a graphic artist. Ian Cheng’s Emissary Forks For You is a mixed reality simulation in which a small dog, Shiba Emissary, verbally commands the viewer to follow her throughout the exhibition. With promise of reward, the viewer assumes a new role: Shiba Emissary’s pet. Lara Favaretto’s Lost and Found suitcases are the result of yearly visits

to places where lost luggage can be found: flea-markets, railway stations or dumps. Having obtained a suitcase, she combines what is already inside with new items, locks the case and throws away the key. Several of these works can be found across many exhibition sites. Rita McBride’s Perfiles depict the outline of houses in Pompeii, a city in the South of Italy that was buried in metres of ash and pumice after the volcanic eruption of Mount Vesuvius in 79AD. Sculptural memories of buildings consumed by time, the Perfiles are distributed across the exhibition. Dispersed throughout the Biennial venues, Jason Dodge’s What the Living Do comprises small items that people left behind, such as sweet wrappers, cigarette butts, leaves, shells, receipts and used tickets. The artist has been collecting these items for many years.

Ramin Haerizadeh, Rokni Haerizadeh and Hesam Rahmanian, O’ The grand old lion, tied to the chain Surely from being chained, to you dishonor did not come, 2016. Photo: Maaziar Sadr

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Biennial Exhibition 11

Rita McBride, Perfiles, 2010

As you walk inside Andreas Angelidakis’s Collider, you step into the Flashback episode. Inside is a film by Samson Kambalu that explores the ambivalent psychogeography of Liverpool’s imperial monuments, and a drawing by Koki Tanaka that he made when he was a child. Ana Jotta’s wallpaper is created from the pages of her 2014 book Footnotes, which portrays the numerous objects and paraphernalia that she has been collecting over many years. Not overly attached to these objects, Jotta often throws them

away, but not before they have helped her to generate the next work. In a room nearby, and also part of the Flashback episode, Yin-Ju Chen’s Extrastellar Evaluations brings together evidence of Lemurian presence on earth. Lemuria is a continent that sunk beneath the ocean thousands of years ago. Its inhabitants have been living on earth in another dimension, revealing themselves as conceptual artists in the 1960s. Extrastellar Evaluations unfolds between Cains Brewery and FACT.

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At the centre of the Collider is the Children’s Episode. For this episode, Céline Condorelli has designed a portal that is only for children to use. Since April 2016, Marvin Gaye Chetwynd has been working through workshops and live performances with 34 children and 44 teenagers from across Liverpool to make the film Dogsy Ma Bone, using the city as a backdrop to the action. The film is inspired by Betty Boop’s A Song A Day, 1936, in which Betty sings to exotic animals in a hospital she owns, and Bertolt Brecht’s satirical musical Threepenny Opera, 1928. Parts of the film have been remade by teenagers who have created home-made or

‘sweded’ versions of certain scenes. Over the Biennial’s opening weekend, some parts of the film are being performed live in the space. In the same space, Betty Woodman’s Kimono Ladies appear – ceramic vessels that the artist has dressed in fancy costumes. There is also an image from Koki Tanaka’s re-imagining of the 1985 Youth Training Scheme protest, in which 10,000 young people from Liverpool took to the streets in opposition to the then Conservative government’s work experience initiative. The project can be seen in full at Open Eye Gallery.

Marvin Gaye Chetwynd, Dogsy Ma Bone, 12 June 2016 at Cains Brewery, Liverpool. Courtesy the artist and Sadie Coles HQ, London. Photo: Mark McNulty

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Biennial Exhibition â&#x20AC;&#x192;â&#x20AC;&#x192; 13

Lu Pingyuan, Do Not Open It Series, 2015

Outdoors is a sculpture by Sahej Rahal, part of the Monuments from the Future episode and just one of a larger body of work that can be seen throughout the exhibition. These belong within a burgeoning mythology, which draws on characters from a range of sources, from local legend to science fiction. He encourages these indeterminate beings to emerge into our everyday lives, as if through cracks in our civilisation.

Sahej Rahal, sketches, 2016

GR A F T ON S T R E E T Around the corner from Cains Brewery is a door, set into a brick wall. The door is a portal between Liverpool and Manchester, and it has been installed by Lu Pingyuan, who has been collecting second-hand doors over the years. The title, Do Not Open It, is a warning. Lu hopes to install similar doors all over the world, imagining that they will all remain closed forever.

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A NCI EN T GR EECE

The Oratory 9 July – 16 October 3

Open daily 10am – 6pm, Free Cathedral Gate, L1 9DY

Lawrence Abu Hamdan, Rubber Coated Steel (film still), 2016. Courtesy the artist

Lawrence Abu Hamdan’s Rubber Coated Steel is part of the Ancient Greece episode. Hamdan is a forensic audio analyst as well as an artist, and in 2014 he was asked to analyse audio files that recorded the shots that killed Nadeem Nawara and Mohamed Abu Daher in the West Bank of Palestine. His audio investigation, which proved that the boys were shot by real bullets and not rubber ones, is the starting point for Rubber Coated Steel – a work about aesthetics, politics and the potential violence inherent in both noise and silence.

The Oratory includes one of Rita McBride’s Perfile series, Lara Favaretto’s Lost and Found, and Jason Dodge’s What the Living Do. It is also the place where visitors are invited to participate in another project happening nearby. The Oratory was built in 1829, and its architect was John Foster, one of the Greek Revivalists who shaped Liverpool’s neoclassical cityscape. It contains a number of neoclassical sculptures, three of which are by John Gibson (1790–1866). Brought up in Liverpool, Gibson sought to emulate the style of the classical world in his own work. The Oratory is part of National Museums Liverpool.

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Biennial Exhibition 15

F L A SH BACK

Saw Mill 9 July – 16 October 4

Open daily 10am – 6pm, Free Wolstenholme Square, L1 4JJ

In 1979, Eric’s nightclub in Liverpool hosted a gig by Joy Division that Mark Leckey attended in his youth. Recently, the artist located amateur footage of the event on YouTube. Realising that many of the personal memories that we have can be found online, Leckey began to assemble a film, Dream English Kid, that uses archival material from television shows, advertisements and music, to recreate a record of all the significant events in his life from the 1970s until the 1990s. The film is presented in an environment that contains new sculptural works connected to material in Dream English Kid. Leckey has an ongoing fascination with the affective power of images, music and technology, and often uses reconfigured archival footage in his work. His installation forms part of the Flashback episode. The venue for Dream English Kid is the Saw Mill, which used to be the entrance hall to Nation – a venue that, for 14 years, hosted the legendary dance music night Cream.

Mark Leckey, Dream English Kid, 1964 – 1999 AD (film stills), 2015. Courtesy the artist and Cabinet, London

16 Biennial Exhibition www.biennial.com

A NCI EN T GR EECE

Tate Liverpool 9 July – 30 October 5

Open daily 10am – 5.50pm, Free Albert Dock, L3 4BB

The Pantheon Interior at Ince Blundell Hall, 1959 © National Museums Liverpool

After walking through a portal in Tate Liverpool’s first-floor galleries, visitors encounter classical sculptures alongside newly commissioned artworks. The artists have imagined a world where artists from Ancient Greece and contemporary times have collaborated, merging the past, present and future into a single fiction just as the city's architects did when they designed Liverpool's neoclassical buildings in the 1800s.

The Ince Blundell objects, borrowed from National Museums Liverpool’s antiquities collections for this episode, include a series of classical sculptures, vases, busts and reliefs bought by art collector Henry Blundell in the early 1800s. Many of the sculptures were subject to inaccurate restoration: female heads appear fixed to male bodies, a toe is stuck to the wrong foot, and classical fragments are combined with additions made by eighteenth-century restorers to make new figures, an accepted practice at that time.

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Alongside Blundell’s figures and fragments, Koenraad Dedobbeleer has made a series of display structures to support the classical sculptures in their new context. Andreas Angelidakis’s new film looks at Ancient Greek vases, and how they were used to spread news and myth, comparing this dissemination to the internet. Jumana Manna’s work draws parallels between Athens and Jerusalem to relate how their stories both contributed to the West's selfconstruction, which in turn mirrored and partially shaped the economy and politics of the Middle East. Betty Woodman’s mural depicts a domestic scene, complete with three-dimensional ceramic objects. Lawrence Abu Hamdan’s Double Take: Office/Leader of the Chasseurs/Syrian Revolution Commanding a Charge uses an 1812 painting by Théodore Géricault as an example of the way people build complex and contradictory relationships with their colonial past. Also featured is new and previously existing work by other artists including Jason Dodge, Samson Kambalu and Sahej Rahal. Collaborating Curators: Lauren Barnes and Chrissy Partheni

Biennial Exhibition 17

Betty Woodman, Country Dining Room, 2015. Photo: Brunco Bruchi

Koenraad Dedobbeleer, Necessarily Involves Wandering, 2011. Courtesy Galerie Micheline Szwajcer

Jumana Manna, A magical substance flows into me, 2015. Courtesy the artist and Chisenhale Gallery. Photo: Andy Keate

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F L A SH BACK

FACT 9 July – 16 October 6

Open daily 11am – 6pm, Free 88 Wood Street, L1 4DQ

Lucy Beech’s new film Pharmakon is an interpersonal drama that explores how disease operates in an era of mass communication. The film focuses on female group dynamics, and how support networks can care for the individual whilst conversely intensifying symptoms. It examines how connectivity in this context can be both illness and remedy, and how diagnosis is dependent on our ability to impose particular narratives on the body. Shot and produced in sites across Liverpool, the screenplay has been developed through the artist’s active engagement with therapy groups, advocacy websites, patient forums, and interviews with clinicians working within the field of delusional infestation. The film is also part of the Software episode.

Lucy Beech, Pharmakon (film still), 2016. Courtesy the artist

For Krzysztof Wodiczko, a flashback means traumatic re-emergence of memories from the past, characterised by psychological conditions such as Post Traumatic Stress Disorder (PTSD). This presentation brings together exhibits from over 40 years spent working in collaboration with marginalised communities such as war veterans and the homeless. Wodiczko’s large-scale installation Guests (2011), originally commissioned for the 53rd Venice Biennale, forms a central part of the exhibition, reflecting in this context on the current migratory crisis and debates around immigration. Veteran Helmet was created in 2015, and uses technology and prosthetics to aid veterans suffering from PTSD to share their experience of the condition.

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Biennial Exhibition 19

Krzysztof Wodiczko, Homeless Vehicle, 1988. Courtesy the artist and Galerie Lelong, New York

Other works include the Homeless Vehicle Project (1988–89), for which Wodiczko worked with members of the homeless community in New York to create tools to aid their survival and communication. The land of Lemuria sank into the ocean thousands of years ago, but its natives have been living invisibly amongst us ever since. In the 1960s, some of them re-emerged, using the identities of conceptual artists such as Donald Judd, Robert Smithson and Carl Andre. Yin-Ju Chen’s work, Extrastellar Evaluations, part of the Flashback episode, brings together evidence of Lemurian presence on earth, and considers the impact of the 1960s as a defining era for humans and Lemurians alike. For humans, civilrights struggles, the Cuban Missile Crisis and Vietnam shook the status quo, but for Lemurians, the era was characterised by severe weather events that disrupted their

communication with their motherland. As a result, they were pushed to invent extreme methods of transmission that involved the creation of large-scale geometric devices, understood by humans as conceptual artworks. Lucy Beech is commissioned by Liverpool Biennial and FACT. Yin-Ju Chen is commissioned by Liverpool Biennial in collaboration with CFCCA and Kadist Foundation. Collaborating Curators: Mike Stubbs, Ana Botella, Lesley Taker and Amy Jones F I L M P R O GR A M M E

Another Version of Events Every Thursday throughout the festival, see p.46 for listings

A selection of films inspired by sci-fi, mockumentary, pseudo-documentary, mockbuster and ethnofiction.

20 Biennial Exhibition www.biennial.com

F L A SH BACK

Open Eye Gallery 9 July – 16 October 7

Open daily 10am –6pm, Free 19 Mann Island, L3 1BP

Dave Sinclair, Youth Training Scheme Protest, Liverpool, 25 April 1985 © Dave Sinclair

When Koki Tanaka visited Liverpool for the first time, he came across a book, Liverpool in the 1980s, by photographer Dave Sinclair. The book contains images of a mass protest against the Conservative Government’s Youth Training Scheme, criticised as a means of providing cheap labour with no guarantee of a job at the end. In Liverpool, where youth unemployment was as high as 80 percent in some areas, 10,000 young people took to the streets in opposition to the initiative. The

march, which took place on 25 April 1985, began outside St George’s Hall and moved quickly down Dale Street, past the Town Hall, ending at the Pier Head. This wasn’t the route the organisers had planned, but the sheer enthusiasm of the students meant that the crowd moved fast and was hard to contain. For Tanaka, Sinclair’s photographs show an unusual combination of energy, optimism, joy and anger. In June 2016, Tanaka revisited the scene of the protest, inviting original participants

#Biennial2016

to share their memories of the event. They were joined by young people in order to reflect on the way in which the future that the students fought for in 1985 relates to the present political situation. This walk has been documented, and the resulting film is presented as part of the Children’s Episode and the Flashback episode, alongside photographs by Dave Sinclair. Each time significant technological progress is made in image resolution, Fabien Giraud and Raphaël Siboni buy a new video camera and use it to film a sunset, but without a lens. The series, titled La Vallée Von Uexküll, and included as part of Flashback, will end when the camera is able to capture more than the human eye can see.

Biennial Exhibition 21

Three submersibles, Anti-Catty, Princess Rambo and Space-Sheep, have smuggled artwork from Dubai to Liverpool. By circumnavigating the normal procedures used to transport artworks from one place to another, they deliberately degrade the usual values assigned to art objects. In the gallery, and across other venues, are videos by Ramin Haerizadeh, Rokni Haerizadeh and Hesam Rahmanian that document the daily lives of the submersibles, the smuggling and objects that have emerged from this process. Collaborating Curator: Thomas Dukes

Fabien Giraud & Raphaël Siboni, Untitled (La Vallée Von Uexküll, 2048 × 1152) (film still), 2009–2014. Courtesy the artists

Ramin Haerizadeh, Rokni Haerizadeh and Hesam Rahmanian, Submarine I: Space Sheep (Space Sheep Was Paid To Land On a New Zeeland!) (film still), 2016. Courtesy the artists

22 Biennial Exhibition www.biennial.com

SOF T WA R E

Bluecoat 9 July – 16 October 8

Open daily, Monday–Saturday 10am–6pm, Sunday 11am–6pm, Free School Lane, L1 3BX

Dennis McNulty, PRECAST, 2012. Photo: Ollie Harrop

In his book More than Human (1953) science-fiction writer Theodore Sturgeon describes a scenario in which multiple humans blend their abilities to act as a single organism. Dennis McNulty pairs this idea with the ‘multinode’: a concept developed by pioneering cyberneticist Stafford Beer (1926–2002) to describe a collective biological or machinic decisionmaking entity. The result is Homo Gestalt, a collective technology that is performed into existence with the participation of audience members, presented as part of the Software episode. The commissions include a data-driven installation, a digital app and an off-site performance work.

P E R F OR M A NC E

Homo Gestalt: The Time Domain Saturday 9 & Sunday 10 July, 12.30 & 3.00pm, New Hall Place, L3 9PP

This promenade performance is set in and around New Hall Place, a 1970s office complex locally known as ‘The Sandcastle’. The brutalist architecture of New Hall Place was built to reflect the management systems and hierarchies of Royal Insurance, the original occupying company. McNulty’s performance moves the audience through these different times zones, highlighting where historical, social, acoustic and infrastructural concerns collide. Free, booking required

Collaborating Curators: Marie-Anne McQuay and

Also on show at Bluecoat during Liverpool Biennial 2016

Adam Smythe. Dennis McNulty is commissioned

is Bloomberg New Contemporaries 2016 (see p. 36).

by Liverpool Biennial and Bluecoat.

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Biennial Exhibition 23

SOF T WA R E

LJMU Exhibition Research Lab 9 July – 16 October 9

Open daily 10am – 5pm, Free John Lennon Art & Design Building, Liverpool John Moores University, Duckinfield Street, L3 5RD

Suzanne Treister’s HFT The Gardener, part of the Software episode, is developed as a fictional narrative focusing on the underlying world of algorithms. It features artworks created by the fictional character Hillel Fischer Traumberg, a banker turned 'outsider’ artist. Traumberg is an algorithmic highfrequency trader (HFT), who experiments with psychoactive drugs and explores the ethno-pharmacology of over 100 psychoactive plants. He uses gematria (Hebrew numerology) to discover the numerological codes in the plants' botanical names, finding their equivalents with companies in the FT Global 500 Financial Index.

Traumberg communes with the traditional shamanic users of these plants, whose practices include healing, divining the future, entering the spirit world, and exploring the hallucinatory nature of reality. He develops a fantasy of himself as a technoshaman, transmuting the spiritual dimensions of the universe and the hallucinogenic nature of capital into new art forms. Ultimately, he becomes an ‘outsider’ artist whose work is collected by oligarchs, bankers and museums. Unaffected by worldly success he continues his parapsychopharmacological research, working on a new algorithm to discover the true nature and location of consciousness and to determine whether psychoactive drugs open a portal to the holographic universe.

Suzanne Treister, HFT The Gardener/Outsider artworks/Mimosa hostilis (Jurema), 2014–2015. Courtesy the artist, Annely Juda Fine Art, London and P.P.O.W., New York

24 Biennial Exhibition www.biennial.com

A NCI EN T GR EECE / MON U M EN TS F ROM T H E F U T U R E

Public Spaces 9 July – 16 October 10

Betty Woodman George’s Dock Ventilation Tower Plaza,

Mariana Castillo Deball Liverpool ONE, Paradise Street, L1 8JF

Mann Island, L3 1DD

Mariana Castillo Deball, detail from To-day 9th of July 2016 (time pattern), 2016. Courtesy the artist

Betty Woodman, A Visit to Rome (detail), 2009. Photo: Mario Ciampi

Betty Woodman has created a large-scale public artwork, a bronze fountain, which is part of the Ancient Greece episode. Her work refers to classical imagery and architectural decoration, combining sources that include Greek and Etruscan sculpture, Minoan and Egyptian art, Italian Baroque architecture and the paintings of Bonnard, Picasso and Matisse. Woodman’s fountain is next to George’s Dock Ventilation Tower, an Art Deco structure built in 1931 that ventilates the road tunnel below. Like many in the Art Deco movement, the building’s architect Herbert J Rowse was influenced by recent discoveries in Egypt, such as the tomb of Tutankhamun, first entered by Western archaeologists in 1922.

Mariana Castillo Deball’s To-day 9th of July 2016 is part of the Monuments from the Future episode. It is a large-scale sculpture: an infinite staircase built for a character who can jump across the same date in different years throughout history. The title coincides with the date on which Liverpool Biennial 2016 opens to the public, but it also references other 9th July events across time. An accompanying newspaper, which can be found across all exhibition sites, contains found news stories from many different 9th of Julys. Castillo Deball began this work in 2005, and it will be completed after 365 editions.

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Biennial Exhibition 25

MON U M EN TS F ROM T H E F U T U R E

Lawrence Abu Hamdan Derby Square, L1 7NU

Sahej Rahal Exchange Flags, L2 3YL

Sahej Rahal’s sculptures imagine artefacts from science fiction and popular culture thousands of years into the future, fossilised. The backdrop is a square behind the Town Hall that is often used by the film industry: it has been cast as New York several times, and once it was covered in snow, to represent Moscow. Lawrence Abu Hamdan, view from the Hummingbird Clock, Derby Square, Liverpool, 2016. Courtesy the artist

Opposite Liverpool’s law courts, Lawrence Abu Hamdan’s Hummingbird Clock, a tree of binoculars resembling CCTV cameras, keeps watch over the Town Hall’s clock. The Hummingbird Clock is a new kind of public time piece that exists physically and online. It is designed as a tool for investigations into civil and human rights violations and state corruption: recording the second by second variations in the buzz made by the electrical grid, and making that publicly available to anyone who might need it. For over 10 years, the UK government has been using this humming sound as a surveillance tool. Nearly all recordings made within earshot of this almost-silent humming can be forensically analysed to determine time and date, and whether the recording has been edited or altered. This technique has, so far, only ever been used by the state, but it can now be accessed by anyone who might need it at www.hummingbirdclock.info. This work is also part of the Software episode.

Sahej Rahal, sketch, 2016

Rita McBride Toxteth Reservoir, High Park Street, L8 8DX

Rita McBride’s large-scale installation represents an opening between real and fictional worlds. It is a wormhole created with laser-beams, in the form of a hyperbola – a smooth symmetrical curve with two branches, produced by the section of a conical surface. Note: This work is only open on Saturdays and Sundays between 10am–6pm.

26 Biennial Exhibition www.biennial.com

MON U M EN TS F ROM T H E F U T U R E

Arseny Zhilyaev 143 Granby Street, L8 2UR

The Planet Parade is a term used to describe the appearance of an intense concentration of stars and planets in the night sky, seen only when Earth is in a very specific position in the Universe. Arseny Zhilyaev imagines a particular constellation of planets that only appears during the very last days in the life of Earth – The Last Planet Parade. This planetary configuration is represented on a stained glass window, and a museological display nearby includes information on Jeremiah Horrocks (1618–1641), an important astronomer from Liverpool best known as the first man to have observed the transit of Venus. The Last Planet Parade is part of the Monuments from the Future episode.

Alisa Baremboym Kelvin Grove and High Park Street, L8 3UG

Alisa Baremboym’s sculpture is also part of the Monuments from the Future episode. It is made from the same type of perforated sheet metal used to shutter the doors and windows of empty terraced houses in the area. The metal surrounds and weaves through organic forms made of ceramic and tinted concrete. A native grass is planted around the sculpture, and slowly grows through the holes in the steel. This hybrid object, somewhere between organic and synthetic, points towards the tension between the body and its environment. In 2004, the Welsh Streets neighbourhood was subject to a government scheme, the Housing Market Renewal Initiative, that saw residents forced out of homes they had lived in for many years, leaving streets full of empty houses. Residents determined to remain in their homes appealed for alternatives to demolition, and since then, the area has been the focus of fierce local and national debate around regeneration. The houses are no longer subject to demolition but are due to be repaired.

Arseny Zhilyaev, The Last Planet Parade (detail), 2016. Courtesy the artist

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Biennial Exhibition 27

MON U M EN TS F ROM T H E F U T U R E

Lara Favaretto Rhiwlas Street, L8 3UA

Momentary Monument – The Stone, 2016 is a huge granite boulder. It is hollow, and passers-by can drop money into it through a slot. This new work is part of the artist’s Momentary Monuments series, which testifies to the temporary nature of all monuments, and the impossibility of memorialisation. At the end of the Biennial, the boulder will be destroyed. The funds collected will be donated to a local charity, Asylum Link Merseyside, an organisation dedicated to assisting asylum seekers and refugees, and raising public awareness around refugee issues.

Lu Pingyuan Epic Hotel, 75 Duke Street, L1 5AA

Lu Pingyuan has written a series of stories that can be encountered across episodes, and in the Biennial’s book. One describes a two-sided lake that a diver uses to swim between continents, and another tells the tale of little Kiki whose origami figure comes to life as a disgruntled artist. A third, which can be seen painted on the side of the Epic Hotel as part of the Monuments from the Future episode, reveals a dystopian future, where a factory full of Van Gogh clones endlessly produce paintings made from the remains of their unsuccessful colleagues. Commissioned by Liverpool Biennial and CFCCA.

Lara Favaretto, Momentary Monument – The Stone, 2009. Installation view, Piazzetta Piave, Twister, GAMeC, Bergamo, Italy. Photo: Francesca Ferrandi

28 Biennial Exhibition www.biennial.com

CH I N AT OW N

Mr Chilli Restaurant 92 Seel Street, L1 4BL, 12pm–2am

Designed by Eduardo Costa, Elena Narbutaite’s images of tiger and leopard-print swimsuits for interspecies transformation, photographed in the Adelphi Hotel, hang on the walls of a Chinese restaurant.

Master Chef Restaurant Renshaw Street, L1 2SJ, Sunday–Thursday 12pm – 12am, Saturday 12pm–1am

Ana Jotta’s ‘background’ paintings, titled No No Sir!, were painted with Master Chef Restaurant in mind. The colours are reminiscent of antique green pottery that the artist saw in a magazine whilst on her train to Liverpool.

Hondo Chinese Supermarket 5–11 Upper Duke Street, L1 9DU

Since the Enlightenment, the distinction between humans and other creatures has been founded on intelligence. Ian Cheng’s Something Thinking of You examines this boundary, arguing that technology now has the capacity to think and make decisions on its own. Cheng’s films use technology that enables characters and scenes to evolve outside his control, free to create their own universe. At the counter, Lu Pingyuan’s story The Two-Sided Lake can be taken away as a piece of paper. It describes a diver emerging unexpectedly from a lake in a small village in China, having travelled there from a different lake in another country.

Throughout the City

Villa Design Group, Promotional Image (Egypt) – A Desert for Love, 2014. Courtesy the artists and Mathew Gallery

Flyposted throughout the city, Villa Design Group’s promotional images are scenographic sketches from a yet to be realised film adaptation of interior designer Jean Royere’s 1976 memoir Arab Living and Loving as seen by a French Interior Decorator. Each image represents a different chapter from Royere’s travels across the Middle East in the 1950s, and the many clients he encountered. Koenraad Dedobbeleer’s posters disseminate images of objects from National Museums Liverpool. A jingle made by Elena Narbutaite, Kevin Rice and DES can be heard throughout the city, transmitted as an ice-cream van’s musical announcement.

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Biennial Exhibition 29

CH I L DR EN’S EPISODE / MON U M EN TS F ROM T H E F U T U R E

Arriva City Buses Until 2018 Check @arrivanorthwest on Twitter to find out the buses’ routes on any given day.

Three double-decker buses have been transformed by artists and children in a major new commission by Liverpool Biennial and Arriva North West. The buses can be seen driving on routes through the City Centre, South Liverpool, North Liverpool and the Wirral. Designed by Year 7 pupils from Childwall Sports & Science Academy, in collaboration with artists and designers Hato, a Space Bus called Hello Future Me contains coded messages to the future citizens of Liverpool, spelled out in an alphabet of newly invented symbols that draw inspiration from imagined futures. It pays homage to the tradition of sending messages into outer space, in the hope

that extra-terrestrial beings will be able to understand more about human civilisation. The bus is part of the Children’s Episode. Ana Jotta’s bus is disguised as a huge, solid brick wall. The pattern is reminiscent of the brick buildings the artist saw when she came to Liverpool for the first time. Her bus is part of the Monuments from the Future episode. Frances Disley’s Blaze is inspired by the success story of Liverpool-born Eunice Huthart, the only contestant on 1990s TV action game-show Gladiators to become a ‘Gladiator’ herself. Blaze depicts the artist as a painted character with the power to blend into her own artwork.

Hato and Childwall Sports & Science Academy, Hello Future Me, 2016. Photo: Gareth Jones

30 Biennial Exhibition www.biennial.com

SOF T WA R E

Online 9 July – 16 October Available from www.biennial.com/online

The computer game Minecraft allows its users to invent their own world from simple block components, and to interact with the various spheres Minecraft constitutes – the hell-like Nether, for instance, which can only be entered through a smoke-filled portal. Minecraft Infinity Project works with Minecrafters the world over to create a ‘portrait’ of Liverpool Biennial, in which users render their own version of the exhibition. It incorporates a number of artworks by participating artists. Oliver Laric’s 3-D scans of sculptures from Liverpool’s Walker Art Gallery include work by John Gibson (1790–1866), who actively oversaw reproductions of his work in the form of statuettes, cameos and prints. 3-D prints of these scans exist across the Biennial, and data from the scans can be accessed, free, at www.threedscans.com. Lawrence Abu Hamdan’s Hummingbird Clock is located physically outside the law courts in Derby Square, and online at www.hummingbirdclock.info. It is designed as a tool for investigations into civil and human rights violations. The clock records the second by second variations of the buzz made by the electrical grid. The sound files are made available online, so that the public can analyse the date and time of any recording made within earshot of the grid, in case they need to know whether the recording has been tampered with.

Dennis McNulty’s smartphone app, BLESH, can be used to generate low resolution animations. An audio work by Marcos Lutyens incorporating myths, rumours and portals can be downloaded and listened to whilst walking around the city, or sitting near the Chinatown arch.

Oliver Laric, 3-D scan of John Gibson’s Cupid Disguised as a Shepherd Boy, c. 1830. Courtesy the artist

#Biennial2016

Biennial Exhibition 31

Liverpool Biennial Associate Artists 9 July – 16 October 22

Open daily 10am – 6pm, Free India Buildings, 31 Water Street, L2 0RD

Simeon Barclay, The Feast Wagon, 2015. Exhibition installation shot at The Tetley, Leeds. Photo: Jules Lister

The Liverpool Biennial Associate Artists programme is a major new initiative by Liverpool Biennial, in partnership with Independent Curators International (ICI) and CACTUS, which supports 10 artists based in the North of England to develop their careers internationally. Part of India Buildings has been transformed into a ‘green room’ for artists to reflect, explore, collaborate and develop their practice. The room is a domestic-type space that contains seating for visitors. Collaborating Curator: Joe Fletcher Orr

Artists Simeon Barclay Jacqueline Bebb Lindsey Bull Robert Carter & Lauren Velvick Nina Chua Matthew Crawley Frances Disley Daniel Fogarty Harry Meadley Stephen Sheehan

32 Biennial Exhibition www.biennial.com

Places of Interest These locations are not exhibition sites, but might be interesting to visit if you are staying longer in the city. Whilst developing the ideas behind Liverpool Biennial 2016, the curatorial faculty engaged with the past, present and future of Liverpool: the stories that emerge from the city’s architecture and the archives held in its universities. Adelphi Hotel Ranelagh Place, L3 5UL

The Adelphi hotel, opposite the ABC Cinema, is a container and generator of fiction. When it opened in 1914, the Adelphi Hotel was regarded as the most luxurious outside London, and its main hall is said to resemble the First-Class lounge of the Titanic. On the left hand side of the entrance, there is a small brass plaque that honours the staff of the Adelphi for their ‘Services to Science Fiction Fandom in the 20th Century’. As well as science fiction conferences, it plays host to musical tribute acts, ballroom dance parties and magic conventions. You can also go there for afternoon tea. Science Fiction Foundation Collection Open Monday–Friday, 9.30am–4.45pm by appointment only Sydney Jones Library, L7 7BD

One of the largest and most important science fiction collections in the world is held by Liverpool University Library’s Special Collections and Archives division. Among its highlights are the Science Fiction Foundation Collection – 35,000 books and over 2,000 periodical titles – and the Olaf Stapledon archive. For details of the collection visit liverpool.ac.uk/library/sca. To make an appointment contact scastaff@liverpool.ac.uk

The Operations Room, Project Cybersyn, Chile, 1971–1973. Courtesy the Stafford Beer Collection, Liverpool John Moores University

Stafford Beer Archive Open Monday–Friday, 9am–5pm by appointment only Aquinas Building, off Maryland Street, L1 9DE

Stafford Beer worked through the ‘50s and ‘60s to translate principles of cybernetics into the practices of business management. From 1971–73, he worked in Chile during the revolutionary period of Salvador Allende’s presidency to create the work of a lifetime: Cybersyn, which was to enable workers up and down the country to collaborate in real time, using experimental technology. At the end of his life, he was a professor at Liverpool John Moores University, where his archives are currently held. To make an appointment contact archives@ljmu.ac.uk or 0151 231 3813

Liverpool Biennial 2016

www.biennial.com 33

Part er E hibitions John Moores Painting Prize Bloomberg New Contemporaries 2016 Biennial Fringe CFCCA: Yin-Ju Chen and Lu Pingyuan

34 Partner Exhibitions www.biennial.com

John Moores Painting Prize 9 July – 27 November

3434

Open daily 10am – 5pm, Free Walker Art Gallery, William Brown Street, L3 8EL

The internationally renowned John Moores Painting Prize has been championing contemporary British painting for almost 60 years. Representing the UK’s most talented artists, it is the country’s longest established painting prize for artists working with the medium of paint. The exhibition is organised in partnership with the John Moores Liverpool Exhibition Trust. Judges

Alex Rennie, Totem, 2015

this year are artists Gillian Carnegie, Ansel Krut, Pheobe Unwin, Ding Yi and writer and freelance curator Richard Henry Davey. For 2016, 54 works have been selected from more than 2,500 entries. From the selected artists, four painters have been awarded prizes of £2,500, while the overall winner has received £25,000.

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Partner Exhibitions 35

Bloomberg New Contemporaries 2016 9 July – 16 October 8

Open daily, Monday–Saturday 10am–6pm, Sunday 11am–6pm, Free Bluecoat, School Lane, L1 3BX

New Contemporaries is recognised nationally and internationally as a reliable barometer of future trends in art. Since 1949, New Contemporaries has profiled emerging talent from the UK’s art schools through an annual open submission exhibition. Past exhibitors include Ed Atkins, Helen Chadwick, David Hockney, Chris Ofili and Simon Starling. At Bluecoat, Bloomberg New Contemporaries 2016 features 46 artists chosen by guest selectors Anya Gallaccio, Alan Kane and Haroon Mirza. From Richie Moment’s high octane, satirical videos to Michael Cox’s detailed paintings of urban architecture, Bloomberg New

Contemporaries 2016 shows the diverse approaches of emerging artists working today. Social, cultural and environmental changes to the world around us are represented in the show, with artists reflecting on geo-political turmoil, cultural legacies and environmental concerns. The exhibition will travel to the Institute of Contemporary Arts (ICA), London, in November. 2016 marks 30 years since Bluecoat last hosted New Contemporaries. Supported by Bloomberg Philanthropies, Arts Council England, Art Fund, Royal Norwegian Embassy and the Embassy of Ireland.

Richie Moment, Richie Moment Green Scream, internet presence 001 (film still), 2014

36 Partner Exhibitions www.biennial.com

Biennial Fringe

Ryan Gander, Is this guilt in you too (The study of a car in a field) (film still), 2005 © Ryan Gander

A wide range of exhibitions, performances and events are presented concurrently with Liverpool Biennial 2016. Independent screenings, gigs, performances, symposiums, mini-festivals and happenings are hosted by individuals, collectives and artist-led spaces throughout the city. For all the Fringe listings, pick up a free copy of The Double Negative’s special Culture Diary pocket guide or visit doublenegative.co.uk Highlights include British artist Ryan Gander’s solo show at CACTUS, featuring artworks he made 12–13 years ago; The Serving Library, a permanent display of artefacts drawn from 16 years of the institution’s house journal, accompanied by a related programme of events; independent music label Domino Records’ exhibition,

Portrait Of British Songwriting, in Bold Street Coffee; while on Strand Street, a private apartment hosts the work of Indonesian artist collective Tromarama. SWAP: UK/Ukraine Artist Residency Programme  In the spring of 2016, four Ukrainian artists spent eight weeks in Liverpool, and as part of their residencies, they produced an alternative guide to Liverpool. Alevtina Kakhidze, one of the artists, has also produced an audio guide which shares her experience of the city and the residency. Download the audio guide from www.biennial.com and pick up a printed guide from Cains Brewery.

#Biennial2016

Partner Exhibitions 37

Centre for Chinese Contemporary Art (CFCCA) Manchester Tuesday–Sunday, 10am–5pm, Free Market Buildings, 13 Thomas Street, Manchester, M4 1EU

5 August – 16 October

21 October – 15 January 2017

Upon watching CCTV footage of a ghost reportedly seen by staff in the pub Ye Olde Man and Scythe in Bolton, Lu Pingyuan decided to use his exhibition at CFCCA to catch it, as an attempt to ‘take something back’ from the UK in response to that which was lost through the UK’s colonial past. The pub, which dates from 1251, is the fourtholdest pub in Britain and is reputedly haunted by the Seventh Earl of Derby, James Stanley. The royalist, whose family originally owned the inn, is said to have spent the last hours of his life there before he was beheaded in 1651.

Yin-Ju Chen is a multimedia practitioner who in recent years has explored the function of power in human society, collective thinking and collective unconsciousness, and most recently the relationship between human behaviour and the cosmos. Her three-part project Extrastellar Evaluations continues her research into dystopia, conspiracy and art history through the mythological land of Lemuria and its inhabitants. Yin-Ju Chen and Lu Pingyuan are commissioned by Liverpool Biennial and CFCCA.

Yin-Ju Chen, Extrastellar Evaluation (film still), 2016. Courtesy the artist and Chi-Wen Gallery

Raphael Hefti, performance at Pullman Liverpool, 19 May 2016. Photo: Nick Mizen

Annua C mmi sions

40 Annual Commissions www.biennial.com

Assemble / Granby Workshop 24

142 Granby Street L8 2US

Since 2012, Assemble have been working with local residents and others in the Granby Four Streets area of Toxteth, Liverpool. The houses that constitute the Four Streets were built around 1900. Granby Street was once a lively high street at the centre of Liverpool’s most racially and ethnically diverse community. After the Toxteth Riots in 1981, many of the houses were purchased by the Council and earmarked for redevelopment. As a result, hundreds of people were forced to move out of their homes. Over the past 10 years, residents who resisted these plans have tenaciously fought to save the area from demolition, reversing dereliction through domestic acts of care and creativity. In 2015, Assemble won the Turner Prize for their ongoing collaboration with

the Four Streets residents. They used this opportunity to launch Granby Workshop, a social enterprise that makes handmade products for homes, all of which are made in Granby by local people. A sign built on the occasion of the International Festival for Business 2016 introduces the ethos of the Workshop, presenting the project back to its home city in a public context, and exploring the relationship between creative action, production and regeneration. The sign is located on the permanent premises of the Workshop and forms part of the building’s refurbishment. Commissioned by Liverpool Biennial as part of the International Festival for Business 2016 (IFB2016).

#Biennial2016

Raphael Hefti 25

Pullman Hotel Kings Dock, L3 4FP

In May 2016, Raphael Hefti created a new site-specific commission for the newly opened Pullman Liverpool hotel. For a week, the artist transformed part of Kings Dock into a studio and film set, which also functioned as a stage for a live performance. A huge pile of sand worked as a makeshift foundry, and with a technique usually used to repair high-speed railway lines, Hefti made a new performance, film and sculpture. The welding process melts steel very quickly: lava-like flows of molten metal poured down the sand, finding final form as the material cooled down. Hefti references heavy labour and iron casting, the backbone of contemporary infrastructure: processes that have long histories but that usually remain hidden. The film is shown at the end of each film programme screening (see p.46). For further screenings, check www.biennial.com.

Annual Commissions 41

Koo Jeong A 26

Everton Park, Prince Edwin Street / Roscommon Street L5 3NG

Artist Koo Jeong A, in collaboration with Wheelscape Skateparks, worked with young people and skaters in North Liverpool to devise a fully functional wheels park and a new permanent sculpture for the city. Evertro, the UK’s first glow-in-thedark wheels park, opened in October 2015. Familiar skating forms have been combined with new sculptural elements to create a unique space for experimentation. The design responds to its immediate surroundings, as well as drawing on Jeong A’s references to diamond shapes and forms conceived through her interpretation of the area. The wheels park is open to skaters and BMX bikers to enjoy. Commissioned by Liverpool Biennial and Liverpool Mayor Joe Anderson, in partnership with Friends of Everton Park, the Land Trust and Liverpool Vision, with support from St Modwen.

Commissioned by Liverpool Biennial and AccorHotels.

Koo Jeong A x Wheelscape, Evertro, 2015. Photo: Gareth Jones

42 Annual Commissions www.biennial.com

Sir Peter Blake

Sir Peter Blake, Everybody Razzle Dazzle, 2015. Photo: Mark McNulty

Mersey Ferries Terminal Pier Head, Georges Parade, L3 1DP

As part of First World War commemorations, Sir Peter Blake’s design Everybody Razzle Dazzle covers the iconic Mersey Ferry Snowdrop with a distinctive dazzle camouflage pattern, transforming the vessel into a moving artwork as it continues its service. Unlike other forms of camouflage, dazzle works not by concealing but by baffling the eye, making it difficult to estimate a target’s range, speed and direction. Realised in monochrome and colour, each ship’s dazzle pattern was unique in order to avoid making classes of ships instantly recognisable to enemy U-boats and aircraft. Visitors who board the Snowdrop can learn more about the history of dazzle and the role that the Mersey Ferries took in the First World War in an on-board display curated by Merseyside Maritime Museum and Tate Liverpool. Sir Peter Blake is a leading figure in the development of British Pop art and his work is synonymous with the use of imagery from

modern culture, including comic books, consumer goods and advertisements. He has a strong relationship with Liverpool that extends beyond his famous design of The Beatles’ album cover, Sgt. Pepper’s Lonely Hearts Club Band in 1967. See Everybody Razzle Dazzle for free from the waterfront or hop on board to explore the curated display. For tickets and sailing times, visit www.merseyferries.co.uk. Biennial visitors get 20% off tickets for Summer Evening Cruises on 24 July, 28 July, 18 August and 28 August. Advance booking required quoting BIENNIAL. #DazzleFerry Commissioned by Liverpool Biennial, 14–18 NOW: WW1 Centenary Art Commissions and Tate Liverpool, in partnership with Merseytravel and National Museums Liverpool. Supported by Arts Council England's Exceptional Awards programme, National Lottery through the Heritage Lottery Fund and the Department for Culture Media and Sport.

Pe formance and Publ c Progra me

44 Performance and Public Programme www.biennial.com

Performance

Free, booking required at www.biennial.com

Michael Portnoy, 100 Beautiful Jokes, 2010. Courtesy Stedelijk Museum. Photo: Ernst van Deursen

S AT U R DAY 9 J U LY

Marvin Gaye Chetwynd Dogsy Ma Bone

systems and hierarchies of Royal Insurance, the original occupying company. This performance is part of the Software episode.

4pm, Cains Brewery

Working in collaboration with 78 young people across Liverpool, Chetwynd has created a new work inspired by Betty Boop and Bertolt Brecht as part of the Children’s Episode. This performance, devised with the project’s young participants, enacts some of the key scenes from the film as a live event. S AT U R DAY 9 & S U N DAY 10 J U LY

Dennis McNulty Homo Gestalt: The Time Domain 12.30 & 3pm, New Hall Place, L3 9PP

S AT U R DAY 9 J U LY

Michael Portnoy Relational Stalinism: the Musical 6–7.30pm, The Black-E, L1 5EW, £5

Part of the Chinatown episode, Relational Stalinism: the Musical is an assemblage that uses many different registers of performance simultaneously. It mixes taiko micro-dance, exhausting feats of reading, experimental physical comedy, melodramatic operatic interlude, call-centre language-torture games, and satire of the Immaterial Turn. Originally commissioned by Witte de With Center for Contemporary Art, Rotterdam, together with A.P.E. (Art Projects Era).

#Biennial2016

S AT U R DAY 9 J U LY

Elena Narbutaite and Eduardo Costa Sun Kiss Feline, 1982–2016 5pm–9pm, Adelphi Hotel swimming pool, L3 5UL

Swimsuits with tiger and leopard cut-out patterns designed by Costa in the 1980s, and produced with Narbutaite in 2016, are the core component in an interspecies transformation photo-shoot performance inspired by the Adelphi Hotel. The final images will be published in local and international fashion magazines, and displayed in Mr Chilli restaurant. T H U R S DAY 21 J U LY

Sarah Browne and Jesse Jones The Truncheon and the Speculum 7.30pm, www.biennial.com/live

This live broadcast of a workshop at News From Nowhere, part of the Flashback episode, explores historic state violence enacted through gynaecological means, identifying the Contagious Diseases Act of 1860 as a key moment. This legislation addressed the threat of venereal disease to British soldiers, and permitted compulsory gynaecological inspection of women suspected to be prostitutes in certain military camps in England and Ireland.

Performance and Public Programme 45

F R I DAY 7, SAT U R DAY 8 & S U N DAY 9 O C T OB E R

Adam Linder Some Strands of Support Throughout the day, Tate Liverpool

Some Strands of Support is a choreography for hair prostheses in which a designated object, sculpture or statue is cared for and coerced through the movement of hair. This performance is part of the Ancient Greece episode. S AT U R DAY 8 O C T OB E R

Coco Fusco Observations of Predation in Humans: A Lecture by Dr Zira 6.30pm, Epstein Theatre, L1 3DZ

Drawing from primatology, neuroscience and evolution, this lecture as part of Monuments from the Future provides a commentary on contemporary forms of aggression and predatory behaviour relating to the desire for resources in post-industrial societies. The lecture is delivered by Dr Zira, the chimpanzee psychologist and expert in human behaviour made famous by Planet of the Apes (1968).

Commissioned by Artangel (UK) and Create, with additional support from Heart of Glass.

Coco Fusco, TED Ethology – Primate Visions of the Human Mind, 2015. Courtesy the artist and Alexander Gray Associates

46 Performance and Public Programme www.biennial.com

Film Programme

T H U R S DAY 2 8 J U LY

Tampopo Dir. Juzo Itami, 1985, Japan, 114 min

Another Version of Events Every Thursday, 6pm, £7 / £5, book at www.biennial.com

A selection of films influenced by feature film genres including sci-fi, mockumentary, pseudo-documentary, mockbuster and ethnofiction is being screened every week throughout the Biennial. The programme looks at alternative realities, history and ‘sampling’, together with ethnography and social anthropology. Several Biennial artists have been invited to select and introduce feature-length works. Elsewhere, thematic screenings address distinct subjects drawn from themes arising in the Biennial artists’ practices, including choreography, ethnography, design and technology.

Selected by Oliver Laric. Comedy ensues when a truck driver helps a young widow named Tampopo improve her roadside noodle restaurant. T H U R S DAY 4 AUGUS T

Stop Motion Group Screening: Jump (Hysterique Bourreé) Dir. Charles Atlas in collaboration with Philippe Découflé, 1984, France, 14 min. 43 sec

Parade Dir. Shahryar Nashat, 2014, Germany, 38 min

Two films that capture dance on screen and unique interactions with the camera. T H U R S DAY 11 AUGUS T

Celine and Julie Go Boating Dir. Jacques Rivette, 1974, France, 193 mins

T H U R S DAY 14 J U LY

News From Home Dir. Chantal Ackerman, 1976, Belgium/France/USA, 85 min

A portrait of 1970’s New York City, punctuated by a monologue of letters to the filmmaker’s mother, alluding to the loneliness and isolation of the big city. T H U R S DAY 21 J U LY

Selected by Mark Leckey. Celine, a magician, and Julie, a librarian, meet in Montmartre and wind up sharing the same flat, bed, fiancé, clothes, identity and imagination. T H U R S DAY 18 AUGUS T

Castle for Home Group Screening: H is for House

Remote... Remote… Group Screening: To Camera

Dir. Peter Greenaway, 1976, UK, 9 min

Dir. Michelle Deignan, 7 min

Dir. Elizabeth Price, 2007, UK, 20 min

Jennifer Where Are You?

Letter of Complaint

Lesley Thornton, 10 min

Dir. Rachel Reupke, 2015, UK, 9 min. 54 sec

Remote… Remote…

Bestiary

Dir. Valie Export, 10 min

Dir. Chris Marker 1985–90, France, 9 min. 4 sec

My Name is Oona

Short films by artists and filmmakers on the theme of domestic, interior and artificial habitats.

Dir. Gunvor Nelson, 10 min

Man, Woman and Animal

At the House of Mr X

Dir. Valie Export, 8 min

Selected by Jesse Jones. Short films exploring representations of the body and identity in public and private spaces.

T H U R S DAY 2 5 AUGUS T

Sans Soleil Dir. Chris Marker 1983, France, 104 min

This mind-bending free-form travelogue charts late French filmmaker Chris Marker’s journey from Africa to Japan.

#Biennial2016

Performance and Public Programme 47

T H U R S DAY 1 S E P T E M B E R

Paris Is Burning Dir. Jennie Livingston, 1991, USA, 71 min

A cult classic following a community of Black and Latino gay and transgender New Yorkers, who find sustenance, creativity and family through dance and performance. Screening accompanied by a special performance. T H U R S DAY 8 S E P T E M B E R

Chris Marker, Sans Soleil (film still), 1983

Dust Group Screening: The Coming Race Dir. Ben Rivers, 2007, UK, 5 min

T H U R S DAY 2 9 S E P T E M B E R

The Many Colors of the Sky Radiate Forgetfulness

Fiorucci Made Me Hardcore

Dir. Basim Magdy, 2014, 11 min

Taking found footage of British dance halls, discos and raves of the 70s, 80s and 90s, Leckey charts changes in style through the decades. Followed by other short works.

Subconscious Society Dir. Rosa Barba, 2014, UK/Germany, 40 min

Short films by artists and filmmakers on the theme of histories and landscapes.

Dir. Mark Leckey, 1999, UK, 15 min

T H U R S DAY 6 O C T OB E R T H U R S DAY 15 S E P T E M B E R

Nothing More (NADA +)

Dünyayı Kurtaran Adam (The Man Who Saved the World) AKA Turkish Star Wars

Dir. Juan Carlos Cremata Malberti, 2001,Cuba, 88 min

Dir. Çetin Inanç, 1982, Turkey, 91 min

This cult science fiction film is affectionately known as the Turkish Star Wars due to its bootleg use of clips from the official movie.

Selected by Coco Fusco. Depicting the social and political struggles in present day Cuba, the film follows a young postal worker who dreams of joining her parents in Miami. T H U R S DAY 13 O C T OB E R

T H U R S DAY 2 2 S E P T E M B E R

Freak Orlando

Circuit Breaker Group Screening: Seduction of a Cyborg

Dir. Ulrike Ottinger, 1981, Germany, 126 min

Dir. Lyn Hershman-Leeson, 1994, France/USA, 8 min

Hyperlinks or It Didn’t Happen Dir. Cecile B. Evans, 2014, 22 min. 30 sec

Remember Carthage

Set in former West Berlin, this uncompromising fantasy explores society’s outsiders in a boundary breaking cinematic epic of experimentation and visual extravagance.

Dir. Jon Rafman, 2013, 14 min

Delusional Mandala Dir. Lu Yang, 2016, 15 min

Short films by artists who use new technologies in their work.

Ulrike Ottinger, Freak Orlando (film still), 1981

48 Performance and Public Programme www.biennial.com

Tours & Talks

Conversations with Ancient Greece W E DN E S DAY 13 J U LY

Events are free, unless otherwise stated. For further listings and booking information, see www.biennial.com.

Dr Mark Wright (FACT and LJMU) and Francesco Manacorda (Tate Liverpool) 6.30pm, Tate Liverpool

T OU R S

T U E S DAY 2 AUGUS T

E V E R Y S AT U R DAY

Dr Chrissy Partheni (National Museums Liverpool) and Lauren Barnes (Tate Liverpool)

Liverpool Biennial 2016: Curator Tours

6.30pm, Tate Liverpool

3pm, Various venues from 17 July

W E DN E S DAY 2 8 S E P T E M B E R

E V E R Y S U N DAY

Rosie Cooper (Liverpool Biennial) and Sandeep Parmar (University of Liverpool)

Liverpool Biennial 2016: Mediator Tours

6.30pm, Tate Liverpool

3pm, Cains Brewery / ABC Cinema alternately from 17 July W E DN E S DAY 3 AUGUS T

John Moores Painting Prize: Talk Tuesdays

Ranjit Hoskote in Conversation with Sally Tallant

1–2pm, Walker Art Gallery

6.30pm, Bluecoat

A series of talks and tours.

The Mumbai-based poet, critic and curator will read his poetry and discuss his varied career across the arts.

E V E R Y T U E S DAY

S AT U R DAY 13 AUGUS T

Gallery Tour with Deep Hedonia 2pm, Bluecoat

T U E S DAY 9 AUGUS T

TA L K S

Juliana Spahr, Sean Bonney and Ruby Robinson 6.30pm, Tate Liverpool

S AT U R DAY 9 & S U N DAY 10 J U LY

Liverpool Biennial 2016: Artists in Conversation with Dominic Willsdon

Join the radical poets for an evening of politically-charged poetry readings.

1–5pm, Bluecoat

T U E S DAY 27 S E P T E M B E R

S U N DAY 10 J U LY

Dennis McNulty in Conversation with Matthew de Abaitua

Contemporary Painting in China

6pm, Bluecoat, £3/£2

2pm, Walker Art Gallery

A panel discussion exploring John Moores Painting Prize China.

De Abaitua’s recent novel If Then draws on the war diaries of Wirral-born science-fiction writer and philosopher Olaf Stapledon.

T U E S DAY 12 J U LY

F R I DAY 14 O C T OB E R

The Politics of Everyday Practice

Sleeping Giants: Theories of Sleep in Art and Philosophy from Ancient Greece to the Present Night

6pm, Bluecoat, £4/£3

Dr Lucy Jackson explores how routine actions form communities, boundaries and identities. S AT U R DAY 3 0 J U LY

A New Chineseness 4–5.30pm, Bluecoat

Ying Tan in conversation with En Liang Khong.

6–8pm, Tate Liverpool

Alexi Penzin and Matthew Fuller consider sleep as a point of resistance towards late capitalism.

#Biennial2016

Performance and Public Programme 49

Conferences & Symposia W E DN E S DAY 14 S E P T E M B E R

S AT U R DAY 8 O C T OB E R

Episodic Data of Culture

In Athens’ Shadow? Radical Cultural Responses to Crisis in Urban Democracy

2–4pm, FACT

Can time and data work hand in hand? This event considers what cultural institutions can proactively do with the data they accumulate. Presenters include Mark Cote, Jussi Parikka, Richard Wright and Hannah Redler.

10am–5pm, Tate Liverpool

SAT U R DAY 8 O C T OB E R , 10 – 6 P M

Bringing together key thinkers, artists and cultural workers, this symposium reflects critically on pressing issues raised by problems for, and relations between the arts, democracy and the city in the 21st century. Speakers include Jen Harvie and Malcolm Miles.

The Biennial Condition: On Contemporaneity and the Episodic

Jointly hosted by Tate Liverpool and

The Johnson Foundation Auditorium, John Lennon Art and

Liverpool Hope University.

F R I DAY 7 O C T OB E R , 5 – 6 P M &

Design Building, Liverpool John Moores University

This conference gathers researchers, curators, artists and writers to explore the Biennial form as the site for the production of contemporaneity in art and exhibition making. Participants include Terry Smith, Michael Elmgreen and Ingar Dragset, Marina Fokidis, Juliana Engberg, Elvira Dyangani Ose, Geoff Cox, Jacob Lund, Verina Gfader, Anne Kølbæk Iversen, Francesco Manacorda, and convened by Joasia Krysa. Organised in partnership with Aarhus University’s The

T H U R S DAY 13 – F R I DAY 14 O C T OB E R / F R I NGE : 12 , 13 & 15 O C T OB E R

Whose Art? Our Art! Access and Activism in Gallery Education Various times, Liverpool Hope University & other venues

The 2016 engage International Conference will explore how issues of access and activism impact on gallery and visual arts approaches to education and outreach. Speakers include Rabab Ghazoul, Bryan Biggs, Mike Fairclough, Kenn Taylor, Rebecca Ross-Williams, Steffan JonesHughes, Oriel Wrecsam and Nina Edge.

Contemporary Condition research project and Liverpool John Moores University’s Exhibition Research Lab.

Community Arts Conference, 2015. Photo: Charlotte Horn

50 Performance and Public Programme www.biennial.com

Education & Family Programme There is a packed programme of events and practical workshops for families and adults throughout the festival, with many of the Biennial exhibitions supported by weekly activities. YOU NG P E OP L E & C H I L DR E N S AT U R DAY 9 J U LY

Minecraft Infinity Project 11–12pm (presentation), 12–5.30pm (drop-in), FACT

See what happens when art and Minecraft collide! Presentation followed by open play session led by YouTube experts.

27–2 9 J U LY OR 3 –5 AUGUS T (AGE S 8 –11) / 10 –12 AUGUS T OR 17–19 AUGUS T (AGE S 12–14)

Prototype FACT, £60 for three days

Designed to inspire confidence and creativity, Prototype is a summer camp where tinkering with tech allows young people to build their own knowledge. Learn a range of digital skills from coding and circuitry to designing and building in Minecraft. MON DAY 2 2 – T H U R S DAY 2 5 AUGUS T

Bluecoat Summer School S U N DAY 31 J U LY, 2 8 AUGUS T,

10–3.30pm, Bluecoat, £80

2 5 S E P T E M B E R & 16 O C T OB E R

Led by experienced workshop leaders, children will spend time in the galleries engaging with the artworks and getting inspired to create their own masterpiece. They will also achieve their Discover Arts Award and showcase the work they have created at a small sharing event. Suitable for ages 6–11.

Sunday Comedy Club 1–5pm, Tate Liverpool

A monthly workshop for families to create their own comedy shows inspired by Liverpool Biennial 2016. Spend the day with educators and comedians to develop your acts, which can include poetry, song and stand-up.

S C HO OL T OU R S A N D R E S OU R C E S E V E R Y O T H E R S AT U R DAY 16 J U LY – 8 O C T OB E R

Do Something! Saturdays 12–4pm, FACT

Explore hands-on skills from designing with technology and the role of art in gaming, to sculpting, filmmaking and animation techniques. Suitable for ages 7+. E V E R Y S AT U R DAY

Explore

Liverpool Biennial 2016 welcomes all school pupils to experience international art across Liverpool’s public spaces, galleries and unused spaces this summer and autumn term. A free digital learning resource with fun educational activities, designed for use inside and outside the classroom and tying in with Key Stages 2 and 3 of the national curriculum, is available from www.biennial.com.

1–4pm, Bluecoat

Artist-led activities for families to do together, inspired by the Biennial exhibitions. Drop in for a short time or spend all afternoon making your own masterpiece. Suitable for all ages.

Bespoke school tours can be organised upon request. For more information, contact gabriela@biennial.com or call 0151 203 3572.

#Biennial2016

Performance and Public Programme 51

Arriva bus workshop with Childwall Sports & Science Academy, 2016. Photo: Pete Carr

M E DI AT ION P R O GR A M M E

W E DN E S DAY 14 S E P T E M B E R

Jessica Foley: Engineering Fictions E V E R Y T U E S DAY

6pm, Bluecoat, £3/£2

The City is a School

A hands-on writing session where collective day-dreaming, conversation, experimental and uncreative writing help to tilt habits of occupational communication.

6.30pm, Various locations

The City is a School is an experimental co-learning programme that trains the Biennial’s Mediation team as storytellers, researchers and public guides. Every Tuesday, a public event organised by the Mediators takes place. For the full programme and locations visit www.biennial.com. A DU LT S W E DN E S DAY 2 0 J U LY

Introduction to Cybernetics 6pm, Bluecoat, £3/£2

Bernard Geoghegan, a cultural historian of media and technology, leads a beginner’s guide to cybernetics.

E V E R Y W E DN E S DAY 13 J U LY – 7 S E P T E M B E R

FACTLab Hack Nights 6–8pm, FACT

Understand more about the tools used to make digital artworks, and try them for yourself in this introductory course, focused on interactive and creative technologies. Basic concepts of programming, electronics and interactivity will be introduced.

52 Performance and Public Programme www.biennial.com

Limited Editions Liverpool Biennial 2016 artists, including Mariana Castillo Deball, Yin-Ju Chen, Marvin Gaye Chetwynd, Céline Condorelli, Frances Disley, Daniel Fogarty, Fabien Giraud and Raphaël Siboni, Mark Leckey, Sahej Rahal and Betty Woodman have made new limited edition works, on sale throughout the festival. The sale of Limited Editions directly supports the Biennial’s new commissions, exhibitions, talks and educational programmes. On display and available to buy from the Biennial Visitor Hub at Cains Brewery, Cass Art, 18 School Lane, Liverpool ONE, L1 3BT and www.biennial.com

Betty Woodman, Fountain, 2016, 39cm × 74cm, Digital pigment print on Canson Edition Etching Rag paper, £750 unframed, Edition of 25

#Biennial2016

Performance and Public Programme 53

Yin-Ju Chen,The Empress, 2016, 23cm × 30 cm, Hand-coloured lino print on rice paper, £150 unframed, Edition of 50

54 Performance and Public Programme www.biennial.com

Book

The Two-Sided Lake: Scenarios, Storyboards and Sets from Liverpool Biennial 2016 £9.99 320 pages, available to buy from exhibition venues and www.biennial.com

Published as part of Liverpool Biennial 2016, The Two-Sided Lake brings together a wide range of contributions by artists, curators and writers to explore the idea of the ‘episode’ in film, literature and computation. The book reflects on how the episodic can open us up to new and strange

discontinuities, and to new conversations about the past, the present, biography, collaboration, architecture, race, migration, trauma and exhibition-making. Including texts by Zian Chen, Mark Z Danielewski, Denise Ferreira da Silva, Matthew Garrett, Xiaolu Guo, Ranjit Hoskote, Joasia Krysa, Lars Bang Larsen, Francesco Manacorda, Andrew Pickering, Denise Riley, Will Slocombe, Juliana Spahr/ C.O. Grossman and Jocelyn Penny Small alongside contributions by all of Liverpool Biennial 2016’s artists. Published by Liverpool University Press.

isitor informati n

56 Visitor Information www.biennial.com

Travel Information: How to Get Around We hope you enjoy your stay in the city as you explore Liverpool Biennial 2016. Here are some of the best ways to see the city. Liverpool is well known for its culture, giving you lots to explore in addition to Liverpool Biennial 2016. It is home to more national museums and galleries than any UK city outside London, such as the Merseyside Maritime Museum and Museum of Liverpool, all of which are free to enter. Liverpool was recently declared a UNESCO City of Music. During your visit, check out local music sites such as Bido Lito! and Get Into This for listings. It is also a city of storytelling, with new talent and classics mixing on stage at the likes of the Everyman, Playhouse and Unity theatres. Liverpool is a city of great architectural interest, with hundreds of listed buildings from different eras. To make the most of the city during you visit, explore www.visitliverpool.com and download the it’s liverpool app.

Walking Liverpool is extremely walkable, with most of the Biennial venues less than 10 minutes’ walk from the very centre of the city. To plan your route, we recommend using the walkit.com app. Cycling It is quick and easy to cycle between our venues, so you are able to pack even more into your day. If you don’t want to bring your own, the CityBike hire scheme is simple and affordable. Just register online and top up your account, then you can use one of the thousands of CityBikes, picking up and dropping off from many stations dotted around the city. For more information on cycle parking and routes around town, download or request a copy of Liverpool’s cycle map from www.liverpool.gov.uk/cycling. Bus The main station for buses is in Liverpool ONE, in the heart of the city’s retail area. From here you can easily navigate the city region and all Biennial sites. This year, three double-decker buses have been transformed into moving artworks as part of a special partnership between Arriva and Liverpool Biennial. Train While Liverpool city centre is easily traversed, there are four train stations from which you can travel across the whole city region. Liverpool Lime Street is the main station for trains going further afield, with regular direct services to Manchester and London. Virgin Trains offer a direct high-speed service from the centre of London in a little over two hours, running on average once an hour. Call Traveline on 0151 236 7676 or check jp.merseytravel.

The Royal Liver Building. Courtesy Marketing Liverpool

gov.uk for train and bus routes, times and tickets.

#Biennial2016

Visitor Information 57

Accommodation Make the most of your visit to Liverpool with one of these great places to stay. We would like to recommend the following, with thanks to our partners. Hope Street Hotel Hope Street Hotel is urbane and calm with a destination restaurant serving delicious food. Within a five minute walk its neighbours include the Victoria Gallery and Museum, the Catholic Cathedral, the Everyman Theatre, Liverpool Philharmonic Hall, Unity Theatre, and the Anglican Cathedral. Biennial visitors get 10% off the best available room rate. To book, call 0151 709 3000 and quote BIENNIAL16. 40 Hope Street, Liverpool L1 9DA 0151 709 3000 www.hopestreethotel.co.uk

Pullman The 4-star Pullman Liverpool hotel is located in the heart of Liverpool's iconic waterfront, just moments from the award-winning Albert Dock. Each of the 216 comfortable bedrooms has been designed with style in mind and feature complementary high speed Wi-Fi as standard. Biennial visitors get 20% off the best available room rate. To book, call 0151 945 1000 and quote BIENNIAL16.

The Nadler This 106-room affordable boutique hotel was awarded the 2015 Certificate of Excellence by TripAdvisor. It provides free Wi-Fi, 24-hour reception & concierge service, air-conditioning and a mini-kitchen in every room. Biennial visitors get 15% off the best available flex rate. To book, quote the code BIENNIAL when booking online. 29 Seel Street, L1 4AU 0151 705 2626 www.thenadler.com

Hotel Indigo Located on one of the original ‘seven streets’ in the heart of the city, and inspired by its historical and cultural surroundings, this boutique hotel offers 151 guestrooms, complete with oversized beds, spa-inspired bathrooms, complimentary snack bar items and Wi-Fi access. Biennial visitors get a preferential rate of £85 per room (bed and breakfast). To book, call 0151 224 7765 and quote LIVERPOOL BIENNIAL. 10 Chapel St, L3 9AG 0151 224 7765 www.hotelindigoliverpool.co.uk

Kings Dock, L3 4FP 0151 945 1000 www.pullmanhotels.com

Hope Street Hotel

58 Visitor Information www.biennial.com

Food & Drink Whatever your taste, Liverpool is packed with great places to eat and drink. We would like to recommend the following, with thanks to our partners. Restaurant Bar & Grill Located in Halifax House, in the heart of the busy commercial district, The Restaurant Bar & Grill creates an impression as soon as guests walk through the doors of this former banking hall. On offer is classic and inspired seasonal cooking, amazing steaks and brilliant cocktails. Biennial visitors get an exclusive Club Individual Card, preloaded with £20 when bookings are made at least 24 hours in advance. To book, please call 0151 236 6703 and quote LIVERPOOL BIENNIAL. Halifax House, Brunswick Street, L2 0UU 0151 236 6703 www.individualrestaurants.com

Fazenda Bar & Grill Since the early nineteenth century, gauchos pierced large pieces of meat and slowly grilled them over open-flamed pits. At Fazenda Bar & Grill, they want to keep this tradition alive. The chefs roast succulent cuts of meat in the way it has been done for centuries, accompanied by a gourmet sides bar and the finest selection of wines. Horton House, Exchange Flags, L2 3YL 0151 659 1183 www.fazenda.co.uk

Buyers Club Buyers Club is a multifaceted venue offering bar, restaurant, garden and event space in the Hope Street area of Liverpool City Centre. Just off the beaten track, it is an ideal place to meet, eat, drink and celebrate in contemporary surroundings with exceptional service. 24 Hardman St, L1 9AX 0151 709 2400 www.buyers-club.co.uk

Oh Me Oh My Oh Me Oh My is housed in the former Bank of West Africa, a spectacular Grade II listed building, located opposite the Liver Building. The calm, welcoming and open space makes it the perfect place to meet, think, eat, drink or hold a special event. The delicious and wholesome food uses the best locallysourced ingredients and is all freshly made in the Oh Me Oh My kitchens. West Africa House, 25 Water St, L2 0RG 0151 227 4810 www.ohmeohmyliverpool.co.uk

For recommendations on Liverpool’s independent coffee shops, restaurants and bars visit independent-liverpool.co.uk

liverpool@fazenda.co.uk 0151 659 1183 Exchange Flags, Liverpool, L2 3YL

Bar, Kitchen, Venue & Garden Meet, Eat, Drink & Celebrate Open: Tues – Thurs: 12pm – 12am Fri & Sat: 12pm – 2am Sun: 12pm – 2am

_CONSTELLATIONS & THE OBSERVATORY_ * * * AWARD WINNING GARDEN EVENT SPACE, BBQ & BAR

For more information contact us on: 0151 709 2400 or info@buyers-club.co.uk Website: www.buyers-club.co.uk Instagram: @buyersclubliverpool Twitter: @buyersclubbar Facebook: @buyersclubliverpool

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Principal funders

Founding Supporter James Moores

Liverpool Biennial partners

Commission and project partners