Summer Residency
Liverpool & Liverpool Biennial
This was the 2nd TT Liverpool residency I attended. During it, I participated in these sessions:
FRIDAY JULY 14, 2023
PRAXIS INTROS
MONDAY JULY 17, 2023
1:1 SCALE ART PRACTICE AND THE POST-EXHIBITIONARY EPOCH
WITH JOHN BYRNE & GUESTS
(PHD RESEARCH PRESENTATIONS (JONES))
TUESDAY JULY 18, 2023
1:1 SCALE ART PRACTICE AND THE POST-EXHIBITIONARY EPOCH AT WHITWORTH GALLERY OF ART, MANCHESTER- WITH JOHN BYRNE & GUESTS
"Economics the Blockbuster– It’s not Business as Usual"
WEDNESDAY JULY 19, 2023
WORKSHOP - CO-DESIGNING THE POST-RESEARCH OUTSTITUTE WITH MICHAEL BOWDIDGE PHD
~I gave a brief pptx presentation with images/screenshots of my iCloud folders and files organizational structure in relationship to the invisible, behind-the-scenes work that goes into my PhD. (MFA RESEARCH PRESENTATIONS (LIVINGSTON and STRAUSS))
THURSDAY JULY 20, 2023
WORKSHOP: ON WORK WITH ALESSANDRA CIANETTI
~ I read this for my 3 minute presentation. I titled it "CitationMachine"
Adam
Adamson
Ahmed
Albers
Alberti
Azoulay
Balaguer
Baldwin
Ball
Batchelor
Batchelor
Bell
Bleicher
Bleicher
Botham
Brady
Brand
Brooker
Brooks
Brooks
Brown
Campbell
Cascone
Cascone
Catlett
Chambers
Chirimuuta
Chirimuuta
Chirimuuta
Cixous
Cixous
Cohen
Coleman
Conley
Croom
Crowther
da Vinci
da Vinci
Dahl
Dass
Dass
Day
de la Cadena
Dickey
Dixon
Doerner
Dominique
Dominique
Dominique
Dowling
Eaverly
Ecker
Editors
Edwards
Egan
Ellis
Enwezor
Enwezor
Falguera
Felsenthal
Ferrell
Ferrell
Fider
Finlay
Fischer and Dolezal
Follesdal and Wrathall
Ford Shallbetter
Foucault
Fox and Rochester
Frecon and Yau
Gabriel
Gage
Gillman and Weinbaum
Goethe
Goldblatt et al
Gottschalk
Gottsegen
Gregg and Seigworth
Gutting and Oksala
Hamilton
Hammond
Heidegger
Hick
Hobbs
Hockney
Hornung
Hornung
Hornung
Hornung
Hornung
Howard-Vyse
Husserl and Brough
Itten
Itten and Birren
Itten and Haagen
Jacobs
Jamme
Jansen and Wehrle
Juren
Kalderon
Kaneda
Karmel
Kennedy and Baldwin
Klein
Klein
Klein
Klein
Korsmeyer
Korsmeyer
Korsmeyer and Weiser
Lee
Legler
Lehrer and Zeglin Brand
Lennon and Dolezal
Lewis
Lippard
Lulkowska
Lunn
Macmillan and Wurmfeld
Mallon, Redies, and Hayn-Leichsenring
Marter et al
Maund
Mayer
McEvilley
McEwan
Merleau-Ponty
Merleau-Ponty and Johnson
Mignolo
Mitchell, Hudson, and Slifkin
Mollica.
Munson
Naifeh and Smith
Nassau
Negarestani and Mackay
Newton
Norman
Noyes Vanderpoel
Oliveros, Cox, and Warner
O’Neill
Paramei
Pfeifer
Pinover
Pippin
Pollock
Pollock
Porcher
Princenthal
Pro’Sobopha.
Puleo
Quinn
Quinn
Rajan-Rankin
Rankin
Rea
Rilke, Corbett, and Launay
Roberts
Rodemeyer
Rodriguez-Pereyra
Roelofs and Zeglin Brand
Rogers
Rost
Sajjad, and Perveen
Saltz
Sautman
Schor
Siddiqui
staff
Staff writer
Stati
Stevenson
Stewart
Stuart
Syme,
Tate
Tate
Temkin
Trianosky, and Zeglin Brand
Tàpies
Vanderpoel
Verichon
Von and Eastlake
Wasserman
Weintraub
Willard.
Willer
Williams.
Woodruff Smith
Wortz and Diage
Wurmfeld
Wurmfeld et al
Wynter
Zeglin Brand and Korsmeyer
Zeki
Zuffi
Zwirner
(PHD RESEARCH PRESENTATIONS (LUDEKER and ABAKA))
FRIDAY JULY 21, 2023
WORKSHOP: ON WORK WITH ALESSANDRA CIANETTI
(PHD RESEARCH PRESENTATION (CHAPARRO and FLUEVOG))
SATURDAY JULY 22, 2023
Liverpool Biennial 2023
uMoya- The Sacred Return of Lost Things
Venues I visited, and artists' works that I most appreciated include:
~Tate Liverpool (the most riveting work I saw in the biennial is here…)
Torkwase Dyson’s abstract work ‘Liquid a Place’ (2021) in the 1st floor gallery has three stunning structural objects that are in direct conversation with the dark histories of the water and docks which surround Tate Liverpool – Britain’s first commercial wet dock was constructed nearby in 1715 to service and expedite the Transatlantic Slave Trade…
Upstairs, Edgar Calel’s work ‘Ru k’ox k’ob’el jun ojer etemab’el (The Echo of an Ancient Form of Knowledge)’ (2021) presents stones as sacred sites of ritual adorned with fruit and vegetables placed during a private ritual during the exhibition installation. …Calel draws on ancestral knowledge from his Mayan Kaqchikel heritage, his work both a celebration of the traditions and spirituality of his community in Guatemala and an act of resistance in its presentation of ancestral practices.
Fátima Rodrigo Gonzales presents several works from her ‘Holograms’ series (2020-2022), alongside a newly commissioned textile work, ‘Contradanza’ (2023). Both explore how fashion photography often copies and extracts from aesthetics and traditional dress of indigenous people and cultures for commercial purposes. In these types of photographs, people are portrayed as subjects with no identity, reduced to their costumes that become detached from their original purpose or meaning through repetitive postures and gestures…
Francis Offman proposes a meditation on the Rwandan genocide, an intimate reflection on how to convey history’s violent narrative through objects of personal connection…
Gala Porras-Kim’s work questions the museum storage system, investigating institutional frameworks and the ethics of keeping and caring for objects. In ‘Out of an instance of expiration comes a perennial showing’ (2022 – ongoing), Porras-Kim propagates mould spores from the British Museum’s collection storage, liberating and regrowing microscopic parts of the exhibits and artefacts. The work is a living organism. The mould spores will grow and spread over the course of the exhibition, inverting traditional concerns within conservation which aim to prevent and contain growth.
Guadalupe Maravilla’s ‘Disease Thrower’ series (2019) are autobiographical constructions which are at once sculptures, shrines, wearable headdresses, and healing instruments, reflecting on the artist’s own experiences as an undocumented migrant and cancer survivor…
In the creation of her work, Isa do Rosário is led by spiritual conversations with Orixás (pronounced ‘oh-ri-shas’) and those who lost their lives during the Transatlantic Slave Trade…
Lubaina Himid’s work, ‘Between the Two my Heart is Balanced’ (1991), is a re-imagining of French artist James Tissot’s painting ‘Portsmouth Dockyard’ (c.1877). Himid’s work subverts the artistic canon, centralising two Black female figures and using painting as a place to imagine something other than pain. In Tissot’s work, a white British soldier is seated in a boat between two white women… In her work ‘Act One, No Maps’ (1992), Himid further explores the overlooked and invisible aspects of history and contemporary life through positioning Black women as protagonists. The painting depicts two Black women seated at the opera, gazing out at a seascape from their balcony seats…
Nolan Oswald Dennis’ work ‘No conciliation is possible (working diagram)’ (2018 – ongoing) is next in their series of installations consisting of map-like wall diagrams and a shifting selection of drawings and objects which amplify the diagrams’ contents. Dennis explores the hidden structures that determine the limits of our social and political imagination. Within the diagram, the meanings of terms such as ‘welcomed and unwelcomed’, ‘apology’, ‘land’, ‘country’, ‘home’, ‘dream’ ‘ancestor’, ‘inheritance’ and ‘healing’ are complicated by their shared and unshared meanings…
In ‘Mumbo Jumbo and The Committee’ (2022), Pamela Phatsimo Sunstrum explores the conflicting demands faced by the artist in pursuit of home and wholeness – the intrinsic expectations of family and community, with the demands and limitations imposed by whiteness. Through drawing, animation and bespoke furnishing inspired by Victorian design aesthetics, Sunstrum looks at how our cultural identities are often tied to our environments, to the expectations of others and imposing systems of class and race inequality.
In her artistic practice, Shannon Alonzo aims to create a connection, or draw a thread, between past and present. She etches, stitches, draws and moulds as a way of making the rich archive of the Caribbean community more tangible. She attempts to counteract years of historical erasure and remnants of colonial legacy which often obscures progress towards collective belonging and a deeper understanding of the self for Caribbean people…
~Tobacco Warehouse
Of the six artists featured, I admired one, Binta Diaw’s reimagining of her installation ‘Chorus of Soil’ (2023) uses soil and seeds to map an 18th century plan of the Brooks slave ship. Between 1782 and 1804, the Brooks departed from Liverpool to the West Coast of Africa, carrying over 5000 enslaved people to plantations in the Caribbean…The material used for the installation – soil – speaks to the potential for new life, where new buds can grow, and healing can occur. Diaw references the plantation and the worked ground but transforms the narrative, reclaiming the labour of tending to the ground and reinterpreting it as a productive, fertile space and emancipatory act.
~Bluecoat (3 of 4 artists’ works were impressive here…)
Nicholas Galanin’s work ‘k’idéin yéi jeené (‘you’re doing such a good job’)’ (2021) is presented in Gallery 1. Sampling words from the Lingít language, which is spoken by the indigenous peoples of the Pacific Northwest Coast of North America, the work centres the love, safety and connection experienced and shared within these communities. The work criticises and rejects the false historical narratives and generational trauma inflicted by settler-colonialism…
In Gallery 2, a survey of Raisa Kabir’s work, titled ‘Utterances: Our vessels for the stories, unspoken. Subaqueous violence. Sea. Ocean…’ (2016-present) encompasses woven text, textiles, sound, video, and performance to convey and visualise concepts concerning the cultural politics of cloth, its associated labour and networks of extraction…
…and upstairs, Benoît Piéron’s work deals with the uncertainty of life, death and immunity…Despite this visceral display of illness, the work is a testament to play through creative practices and seeks to produce alternative expressions of disease as a site of potential. At Bluecoat, Piéron creates a space amongst a selection of his existing artworks which invites visitors to explore, rest and play.
~Cotton Exchange
Three artists had works in this venue, and only one for me is engaging, which was the 15 minute film installation, ‘Songs to Earth, Songs to Seeds’ (2022), by Sepideh Rahaa. Rahaa portrays the often invisible and inaccessible process of rice cultivation in the paddy lands of Mazandaran, Northern Iran. The nearly year-long process is an intergenerational tradition, that uses knowledge passed down for nearly a century through the artist’s family. Rahaa features the role of women’s labour, presenting the traditional songs sung by Iranian women during the cultivation and harvest seasons.
~Open Eye Gallery (these 2 of the 3 artists' works here impressed me:)
Rahima Gambo employs walking as an artistic practice, using movement as a meditative and creative process from which to weave a visual story. ‘Nest-works and Wander-lines’ (2021) and ‘Instruments of Air’ (2021) explore the origins of language…and employs movement, symbols, signs, gesturing, tracing and silence as preferred modes of understanding the world.
Sandra Suubi’s ‘Samba Gown’ is a statement of resistance. The work, originally devised as a performance piece, imagines and re-enacts the Ugandan independence ceremony of 1962 as a wedding ceremony…The photographs displayed around the gallery document the wearing of the gown in various rubbish dumps in Kampala, Uganda. Comprised from plastic waste, the gown comments on plastic pollution as one of the major aftermaths of colonialism – Uganda receives thousands of tons of plastic waste from wealthy nations each year.
Textcerpts from https://www.biennial.com/events/
