A Needle Walks Into a Haystack 8Th Liverpool Biennial 5 July–26 October 2014

introduction A Needle Walks into a Haystack 8th Liverpool Biennial 5 July–26 October 2014

A Needle Walks into a Haystack is an exhibition about our habits, our habitats, and the objects, images, relationships and activities that constitute our immediate surroundings. It’s about effecting larger questions facing contemporary life and art, from an intimate and tangible scale that’s within everyday reach. The artists in this exhibition disrupt many of the conventions and assumptions that usually prescribe the way we live our lives. They attack the metaphors, symbols and representations that make up their own environment, replacing them with new meanings and protocols: bureaucracy becomes a form of comedy, silence becomes a type of knowledge, domesticity becomes a place of pathology, inefficiency becomes a necessary vocation, and delinquency becomes a daily routine.

Curated by Mai Abu ElDahab and Anthony Huberman.

2 T he Blu ecoat James McNeill Whistler

5 Foundation for Art and Creative Technology (FACT) Sharon Lockhart

8 The Old Blind School uri Aran, Marc Bauer, Bonnie Camplin, Chris Evans, Rana Hamadeh, Louise Hervé and Chloé Maillet, Judith Hopf, Aaron Flint Jamison, Norma Jeane, Nicola L., William Leavitt, Christina Ramberg, Michael Stevenson, STRAUTCHEREPNIN, Peter Wächtler and Amelie von Wulffen

18 St. Andrews Gardens Jef Cornelis

20 Tate Liverpool Claude Parent Works from the Tate Collection

27 The companion 28 the book 29 acknowledgements 31 colophon 32 MAP

1 B T he Blu ecoat B The Bluecoat James McNeill Whistler

Outspoken and argumentative, dressed in his black patent Upstairs shoes and with a white plume of hair coiffured amongst black waves, the painter James McNeill Whistler (US, 1834–1903) cultivated a charismatic public persona who challenged the art community and elicited the mocking attention of the popular press. one of the most influential figures in the arts of the nineteenth-century, he played an important role in paving the way for abstract painting, but was also the first to consider the exhibition space as a total environment, creating colour schemes and arrangements that on one occasion extended to the yellow clothing worn by the gallery attendants. Equally Gallery 3 concerned with the way his art was received, Whistler was active in directing conversation around his work, and about art at large. For example, in 1883 he used derogatory reviews of his work as captions for an exhibition of etchings, and in 1878, he notoriously sued the prominent critic John Ruskin, who had accused him of metaphorically ‘flinging a pot of paint in the face of the public’. This well-publicised trial was a perfect moment for Whistler to raise very contemporary concerns about art’s relationship to realism. The action also forced his detractors to take a public stand, and explicitly situated art as a matter of public concern. Gallery 2 More than 100 years after his death, Whistler takes part in A Needle Walks into a Haystack because his attitude, motivations and commitment are as resonant now as they ever were. Whistler spoke for himself, and to continue his legacy we’ve summoned his thoughts and writings to guide you through the show.

This exhibition is curated by Mai Abu ElDahab and Rosie Cooper. Gallery 1 The curators are grateful for the expert and creative advice of Margaret MacDonald, Professor Emeritus, Glasgow University. The Vide

2 3 B The Bluecoat F Foundation for Art and Creative Technology (FACT)

The Vide Velarium, c.1887–88 Howell and Whistler Leaving Wapping (Rotherhithe), 1860 Pencil, pen, brown ink and the Show on Fire, 1878 Etching and drypoint Sharon Lockhart Mr Whistler’s Ten O’Clock, watercolour on off-white wove paper Pen and black ink on cream paper Courtesy of the Liverpool Central 20 February 1885 Courtesy of The Hunterian, Courtesy of the Special Collections Library, Liverpool City Council Public lecture University of Glasgow Department, University of Recording by Mr P Cock, 2014 Glasgow Library The Music Room, 1859 Interior of the British Artists Etching on paper Blue and Silver: Screen, with Exhibition, 1886–87 The Show on Fire, 1878 Courtesy of National Museums Old Battersea Bridge, 1871–1872 Graphite on laid paper Pen and black ink on grey paper Liverpool, Walker Art Gallery Distemper and gold paint on brown Signed in graphite, with Courtesy of the Special Collections paper laid on canvas stretched on butterfly upper right Department, University of Limehouse, 1859 Sharon Lockhart (US) constantly reinvents the documentary back of silk Courtesy of The Samuel Courtauld Glasgow Library Etching and drypoint Reproduction by Olivia Trust and The Courtauld Gallery Courtesy of the Liverpool Central form by questioning both its parameters and its message. du Monceau, 2014 Fighting Peacocks, 1876 Library, Liverpool City Council Wood, silk, paper, scenic paints Interior of the British Artists Pencil on cream paper Her exhibition at FACT brings together ideas about childhood, Exhibition, 1886–87 Courtesy of the Special Collections Old Westminster Bridge, 1859 Pen and brown ink over graphite Department, University of Etching and drypoint philosophical inquiry, and the politics of the voice, anchored Gallery 1 on laid paper Glasgow Library Courtesy of the Liverpool Central Courtesy of The Samuel Courtauld Library, Liverpool City Council by works that refer to a young Polish girl named Milena. The Baronet and the Butterfly, 1899 Trust and The Courtauld Gallery Elinor Leyland, 1874 Book (pages 44–45) Drypoint etching The Fiddler a.k.a. J. Becquet, Podwórka is a film the artist made in 2009. Taking the Courtesy of the Special Collections Sketch of the Interior of the Suffolk Courtesy of National Museums Sculptor, 1859 Department, University of Street Gallery During an Exhibition, Liverpool, Walker Art Gallery Etching and drypoint ubiquitous courtyards (podwórka) of a dilapidated Polish Glasgow Library c.1886–87 Courtesy of the Liverpool Central city as a structural motif, Lockhart follows groups of children Pen and black ink over graphite Designs for Wall Decorations Library, Liverpool City Council Nocturne in Grey and Gold – on off-white laid paper for Aubrey House (a), c.1873–74 as they effortlessly invent their own spaces of play within Piccadilly, 1881–1883 Courtesy of The Ashmolean Charcoal and gouache on The Old Woman at Loques, 1858 Watercolour on paper Museum, University of Oxford brown paper Etching on paper the existing architecture. While on the set, Sharon befriended Courtesy of the National Gallery Courtesy of The Hunterian, Courtesy of National Museums of Ireland Collection Arrangement in Black (The Lady University of Glasgow Liverpool, Walker Art Gallery Milena, who would become a key figure in her life and who in the Yellow Buskin), 1882–84 A Beach Scene with a Breakwater, Oil paint on canvas Designs for Wall Decorations for Beatrix Whistler would inspire a series of other recent works. c.1899–1900 Reproduction by Ruta Aubrey House (b), c.1873–74 Caricature of Oscar Wilde as a Pig, Watercolour on card Staseviciute, 2014 Charcoal and gouache on Another Pig and a Jockey (recto), In the months prior to the Liverpool Biennial, Sharon Courtesy of The Ashmolean Oil paint on canvas brown paper Six Studies of a Head (verso), Museum, University of Oxford Courtesy of The Hunterian, c.1882/1884 organised a series of educational workshops in Poland for Design for Lady Archibald University of Glasgow Ink on paper Milena and a group of twelve adolescent classmates (all girls Sunrise; Gold and Grey, c.1883–84 Campbell’s Parasol, c. 1881–82 Courtesy of The Hunterian, Watercolour on paper Pencil and watercolour on Designs for Wall Decorations for University of Glasgow aged 12–16). Led by educator Bartosz Przybył-Ołowski, the Courtesy of the National Gallery off-white wove paper Aubrey House (c), c.1873–74 of Ireland Collection Courtesy of The Hunterian, Charcoal and gouache on Whistler (manner of) group worked with his key philosophical text for children, University of Glasgow brown paper Whistler and the Leyland Family Courtesy of The Hunterian, in the Billiard Room, Speke, c.1875 developing exercises and activities designed to empower the Gallery 2 The Two Doorways, 1880 University of Glasgow Oil paint on canvas Etching and drypoint Courtesy of National Museums authority of their own voice, and emphasising the specific Miss Rosalind Birnie Philip Courtesy of The Hunterian, Designs for Wall Decorations for Liverpool, Walker Art Gallery Standing, c.1897 University of Glasgow Aubrey House (d) v: Head and ways they choose to articulate their own perspectives about Oil paint on wood shoulders of a nude, c.1873–74 E W Godwin Courtesy of The Hunterian, The Piazzetta, 1880 Charcoal and gouache on Design for the White House, 1878 the world. The workshops are the basis for Sharon’s new film University of Glasgow Etching and drypoint brown paper Print and an extension of her research on the influential Polish Courtesy of The Hunterian, Courtesy of The Hunterian, Reproduction, digital print Whistler Raiding the Chelsea Arts University of Glasgow University of Glasgow on Foamex, 2014 pedagogue Janusz Korczak, whose writing influenced the Club, 1896 Courtesy of the Victoria Pen and black ink on cream paper Nocturne, 1879–80 The Velvet Dress, 1873 & Albert Museum United Nations’ Declaration of the Rights of the Child in 1959. Courtesy of the Special Collections Etching and drypoint Drypoint etching Department, University of Glasgow Courtesy of The Hunterian, Courtesy of National Museums The outcome of the artist’s five-year-long research in Library University of Glasgow Liverpool, Walker Art Gallery Gallery 3 Poland are photographs, a sculptural installation of text The Blue Butterfly, c.1896 The Palaces, 1879 Chelsea Bridge and Church, 1871 Mortimer Menpes Pen and black ink on off-white Etching and drypoint Etching on paper Portrait of James McNeill works, and a new film, co-commissioned by Liverpool laid paper Courtesy of The Hunterian, Courtesy of National Museums Whistler, c.1880 Courtesy of The Hunterian, University of Glasgow Liverpool, Walker Art Gallery Etching Biennial, FACT and the Kadist Art Foundation which University of Glasgow Courtesy of the Chelsea premieres in October 2014 at FACT. Sharon has also The Gold Scab – Eruption Speke Hall No. 1, 1870 Arts Club Collection Interrogative Butterfly, 1893 in Frilthy Lucre, 1879 Etching on paper curated a regular programme of films addressing topics Pen and ink on printed blue paper Oil paint on canvas Courtesy of National Museums Photographs, slides depicting Courtesy of the Special Collections Reproduction, digital print Liverpool, Walker Art Gallery caricatures of Whistler and of children’s agency and selfhood, to be screened over Department, University of on Foamex, 2014 the Aesthetic Movement, and Glasgow Library Early Morning Battersea, 1863 a selection of material taken the course of the Biennial. Caricature of F.R. Leyland, Etching and drypoint from Punch magazine. Loie Fuller Dancing, 1892 c. May–June 1879 Courtesy of the Liverpool Central Pen and black ink on off-white Pen and dark brown/black Library, Liverpool City Council wove paper ink on cream laid paper Upstairs Courtesy of The Hunterian, Courtesy of The Hunterian, Old Hungerford, 1861 University of Glasgow University of Glasgow Etching and drypoint Harmony in Blue and Gold: Courtesy of the Liverpool Central The Peacock Room, 1876–77 Proof of Six Butterflies, 1890 Caricature of Charles Augustus Library, Liverpool City Council Oil paint and gold leaf Printed proof on paper Howell, 1878–79 on canvas, leather, wood Courtesy of the Special Collections Pen and black ink with a touch The Little Pool, 1861 Reproduction by Olivia Department, University of of red on paper Etching on paper du Monceau, 2014 Glasgow Library Courtesy of The Ashmolean Courtesy of National Museums Wood, canvas, paper, hessian, Museum, University of Oxford Liverpool, Walker Art Gallery scenic paints, china pots. Fireplace and Flowers, Pattern and Paintings, 1888 Whistler Sitting Under Sketching No. 1, 1861 Pencil on white paper an Umbrella, 1878 Etching on paper Courtesy of the Special Collections Pen and dark brown ink on paper Courtesy of National Museums Department, University of Courtesy of the Special Collections Liverpool, Walker Art Gallery Glasgow Library Department, University of Glasgow Library 4 5 F Foundation for Art and Creative Technology (FACT) F Foundation for Art and Creative Technology (FACT)

Connect Space Gallery 2 The Box / Picturehouse Sharon Lockhart’s new film will at FACT premiere on October 17 2014, at Milena, Jarosław, 2013, 2014 Milena, De¸bki, 2014, 2014 Picturehouse at FACT. It has been Three framed chromogenic prints Framed chromogenic print Film programme curated commissioned and supported by by Sharon Lockhart Liverpool Biennial 2014, FACT, and Untitled, 2014 the Kadist Art Foundation. The Box Gallery 1 Wooden plinth, five silkscreened 6 July aluminium sheets Boyhood (Richard Linklater, 2014) Podwórka, 2009 Co-commissioned by Liverpool 16mm transferred to HD, Biennial 2014 and FACT 16 July Gallery 1 colour and sound, 28' 36" Nana (Valerie Massadian, 2011)

30 July Papermoon (Peter Bogdanovic, 1973)

13 August Wadjda (Haifaa Al-Mansour, 2012)

27 August Zéro de Conduite (Jean Vigo, 1933)

10 September The Little Girl Who Sold the Sun (Djibril Diop Mambéty, 1999)

24 September TBC

8 October Connect TBC

Space Presented in partnership with Picturehouse Cinemas

Gallery 2

6 7 O The Old Blind School O The Old Blind School

Uri Aran (IL), Marc Bauer (CH), Bonnie Camplin (UK), Chris Evans (UK), Rana Hamadeh (LB), Louise Hervé (FR) and Chloé Maillet First floor (FR), Judith Hopf (DE), Aaron Flint Jamison (US), Norma Jeane (US), Nicola L. (FR), William Leavitt (US), Christina Ramberg (US), Michael Stevenson (NZ), STRAUTCHEREPNIN (AT/US), Peter Wächtler (DE) 12 and Amelie von Wulffen (DE) Tickets 11

1 Somehow, we all get up, get dressed, and get through the day. We each find a balance between too many variables – pleasure, habit, distraction, necessity, efficiency, desire, and so on. Some handle it by withdrawing into a place of privacy and silence, while others prefer conversation in the company of friends. Either way, routine and familiarity try to take over, Lift and the day is filled with activities like working or waiting, 10 surrounded by objects like lamps, hats, tools, or doors. Inevitably, rules get broken, and bits of behaviour are combined with bits of misbehaviour. In the case of this exhibition, we end up with bronze tree branches, ceramic crabs, and hacked computer games.

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1 5 These doors are controlled in such a way as to reproduce and mimic the original proof. Michael, Norma Jeane is an artist who was born in Los Angeles Handkerchiefs. Skirts. Hats. Hairdos. Lingerie. Torsos. working with John Moore’s University’s mathematicians on the night Marilyn Monroe died. Taking over her birth Hips. Shirts. Pants. Shoes. Shoulders. Associated and computer engineers, has paired each door swing name and using this persona to contain a wide range of with the Chicago Imagists of the 1970s and 1980s, with a computer game. The games engage in a form of different personalities, the artist has become an entity Christina Ramberg (1946–1995) worked with images spiritual warfare, competing against each other to win without a fixed body, gender or biography. of bodies and body parts, making paintings that link the swing of the door. Embodied by an ordinary door, a traditional costuming and garments with anatomy moment of irrationality is inserted into the hallways of Here, an ice-making machine runs on solar energy, and morphology, injecting them with a feminist punch. rational thought. transforming heat into cold, and liquid into solid. Her paintings come from an interest in the cultural With its door left open, the machine keeps working identification of images, exploring a combination 11 relentlessly, even though its product continually melts of pictorial forms and erotic desire through the away into a wet floor. representation of taxonomies and typologies of things associated with the feminine. The Metaphysical Store is an installation by STRAUTCHEREPNIN – a merger of two artists, Josef 2 3 Strau and Stefan Tcherepnin. 6 7 8 9

The private space of a domestic interior can seem The artists have worked together on several occasions, strikingly ordinary but also quietly unnatural, as if To witness a battle between a crab and other sea but their 2013 collaboration is perhaps most relevant it exists partly in the past and partly in the future. animals is to experience a fantasy, a nightmare and an here. Übersetzungsbüro (Office for Duplication) was When a houseplant takes on an air of science fiction, everyday occurrence all at the same time. an exhibition and a series of events in the form of a we know that the unruliness of the Great Outdoors temporary shop containing projects that blur the line has come to infect the safety of the Great Indoors. While they might seem foreign or unfamiliar, between artwork and entrepreneurship. Quickly, recognisable images lose their familiarity and underwater, extra-terrestrial or even microcosmic dip into dysfunction. But there is often no difference environments are simply habitats, each one coming with In Liverpool, they redeem their existing collaborations between function and dysfunction. To a butler, for its set of behaviours, life forms, movements, objects, and productions and present them as sculptures example, acts of intimacy, hospitality, corruption, lust, images and relationships. What’s a disaster in one is a alongside other sculptures. ‘Redeem’ is an important kindness, desperation, generosity, jealousy, hypocrisy miracle in another and nothing more than routine in a word here: the artists are looking back at their own past or delinquency are all the same in the end — it’s all third. Dislocating them or mixing them together short- work and previous decisions and revisiting, rethinking, just administration. And, in the world of comics and circuits their logic. re-categorising them, allowing themselves to be critical animated cartoons, deadpan humour can be laced with of them. All is presented in the form of a shop, where depression and pathos, used to tell the stories of heart- Some examples: a film that combines marine product exists alongside object, sounds, reclamation broken rats or hobos. Chris Evans, Peter Wächtler and archaeology, Thalassotherapy, forgotten civilisations, and vulnerability. William Leavitt. immortality and post-humanity (Louise Hervé and Chloe Maillet); a patio with its own projected backdrop 12 and front lawns with their own roller coasters (William 4 Leavitt); microcosms for plastic grapes, pizza boxes, passport photos, silkscreened websites, and other ‘A signature for a stream of data that is its contents.’ Boodles is a fine jewellery company, which was founded stranded ephemera (Uri Aran); and that battle between — Aaron Flint Jamison in Liverpool in 1798 and is owned and run by the those crabs and their sea-dwelling neighbours (Peter Wainwright family. In a gesture that re-arranges the Wächtler). boundaries that separate the hierarchies between the different arts — crafts, applied arts and fine art — Chris 10 Evans asked the designers at Boodles to create a piece of jewellery based on their reading and interpretation of the exhibition’s core ideas, as expressed in the press Michael Stevenson begins each of his projects by release. They made this ring, and Chris made this relief conducting in-depth research into specific improbable to present it, and the vitrine to house it. phenomena that contain not only complex narrative qualities but formal ones as well. Formal questions often translate into political and social ones. A tree branch growing out of an abandoned Michael borrowed these doors from the offices of building’s window is a fleeting moment of grace amidst Liverpool John Moore’s University School of Computing desolation. When cast in bronze, its fragility can exert and Mathematical Sciences. Local mathematicians have a subtle authority, and can perhaps stand in the way of passed through them thousands of times. The art work those who might want to replace an empty old building is dedicated to another mathematician, José de Jesús with a fancy new one. Consider it Judith Hopf’s quiet act Martínez (1929-91), who founded the maths department of protest. at the University in Panama City, and who believed that the devil resided in the swing of a hinged door. The artist has taken this curious anecdote, and is testing its application as universal truth.

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13 INSTRUCTIONS FOR USE:

The Donut Gang by Uri Aran is part rehearsal and part Please turn off all mobile telephones. Objects small Second floor performance; the video seems deliberately stuck in its enough to fit in the palm of the hand may be brought own trajectory towards becoming a video, without ever into the DSV Chamber for observation (maximum one quite getting there. A sense of instinct and intimacy object per person). These might include a bankcard, dominates, as if the presence of the camera was not spectacles or a key-fob. Only five people at most can strong enough to break the spell. Uri uses characters, enter the DSV Chamber at any one time. Use of the DSV motifs, phrases and sounds from his own previous occurs precisely every hour, on the hour, for twenty

20 20 works, and plays with the way in which endless minutes (including seven minutes of observation time). 20 repetition can strip the banal of its meaning, pushing it Participants self-organise using the sign-up sheets 21 over into the absurd. on the table in the Quiet Preparation Space. The five self-organised participants leave the Quiet Preparation Space exactly on the hour to enter the DSV Chamber. 14 This should take one minute, so that the time of arrival in the DSV Chamber will be one minute past the hour, 22 19 Atmosphere in White, an installation by Nicola L., whereupon the machine will activate. Complete silence includes, in her words, ‘some of the Functional Art is required by each participant from the point of objects that I have been producing since the ‘60s. I have departure from the Quiet Preparation Space through chosen this name because every single one of these to the completion of the process. Once inside the objects is white, and this shared whiteness binds them DSV Chamber, participants seat themselves around 13 Lift together as a sort of dream-memory.’ In considering the Circle Platten and are voice-guided through each her symbols, she quotes poet and explorer Alain stage of the process. Participants must keep their Gheerbrant and cultural anthropologist Jean Chevalier: hands outside of the Circle Platten until the voice- ‘White is not a solar colour. It is not the colour of dawn, guide indicates the time to place the objects into the but the colour of dusk, that moment of total emptiness Circle for a seven-minute period of observation. When 18 between night and day, when the oneiric world still deep observation is complete, the machine will sound blankets all of reality.’ the chime, indicating that the session has ended. Participants should then take a few minutes to mentally transition out of their observation state, after which 15 each can collect his or her object and slowly exit the 14 chamber. Over the course of a few weeks in June, Marc Bauer decided to move his studio into a dingy hotel in 17 Liverpool, where he thought he could potentially become part of the story of the place. Marc draws and re-draws the images he finds in his own personal materials—his William Leavitt’s borrowings from melodrama, film and surroundings, archives or family albums—and uses theatre are inserted into the domesticated space of the this very tactile process to add his own vision of what American suburban home. Chaco Rising, for example, those narratives mean and how representation confirms sits on a metal easel, caught between being a prop, a 15 stereotypes and power systems. hobby, a billboard and a spaceship. The painting depicts the ruins of an ancient American Indian burial ground 17 turned upside down and set adrift in the atmosphere. 16 Part asteroid, part archaeology and part apocalyptic cartoon, the image simultaneously faces the past and The DSV Technology for the Deeper Observation of the future. Small Objects by Bonnie Camplin. 16 18 The DSV is a magnification technology for the enhanced observation of small objects. The system employs synaesthetic and subtle energetic principles in the A banana has stage fright. A tooth walks with crutches. organisation of audio-visual energy patterns that A lemon gets angry at an apple. An ice-cream cone goes are designed to direct the sensorial mind towards a sledding. A paintbrush goes to an exhibition opening. A 16 particular state — one that is particularly receptive to hammer comforts a nail. Two glasses of wine just had the information patterns in objects small enough to fit sex, and have a smoke. in the palm of the hand, such as a nail-file, a lipstick or a cigarette lighter. In Amelie von Wulffen’s watercolours, common objects have become animate subjects, complete with The DSV incorporates an ultra-specific protocol. A personalities, moods and plenty of opinions. The same serious commitment to this protocol is necessary for could be said of the doors in Judith Hopf and Henrik the successful application of the technology. Olesen’s short video, and of the cushions in Marc

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Bauer’s drawings. And on a stage set based on a design 23 used in the Bauhaus Dessau in the late 1920s, Rana Hamadeh imagines objects as the characters on a stage. Rana Hamadeh proposes that justice be understood as the extent to which one can access the dramatic, or theatrical, means of representation. By way of 19 narration, props, chants, and scenography, she orchestrates paradoxical situations where the theatrical This video is what happens when Chris Evans is asked and actual exist simultaneously. Taking as a case study to make a film in response to an Allan Kaprow score the Shiite ritual of Ashura – where tens of thousands of of his choice. Like in most of Chris’ other projects, an men, women and children take to the streets to re-enact unconventional collaboration to make an artwork is set and ‘re-witness’ the slaying of their spiritual leader – up, usually between himself and a person who wields she decodes this performance, re-arranges its elements power, either as a public persona or in their professional allowing a new experience to emerge. capacity. Hierarchies, it turns out, become fragile when there are unexpected changes to the ingredients of a relationship. In this film, a real estate developer from Cairo appears to explain his own earnest belief system, but is only reciting a version of his own words re- scripted by the artist and Will Bradley.

Uri Aran, Marc Bauer, Bonnie Camplin, Louise Hervé and Chloé Maillet, Nicola L., William Leavitt, Christina Ramberg, and Amelie von Wulffen. Third floor

Silence and stillness can contain brute force. Judith Hopf’s concrete sheep, cut baskets, and curled ropes 23 derive their strength from their stubborn immobility, and from how little they seem to tolerate movement: they are stuck inside the floor, either sinking down to the one below, or caught in mid-rise.

Louise Hervé and Chloé Maillet are at once amateur archaeologists and science-fiction enthusiasts, and this mix makes their approach to historical truth precarious. Usually taking the site where they happen to land as the starting point for their films, performances and slide projections, they look for narratives and objects that they weave together through different genre-specific logics coming from cult fiction, social science, art history and cinema. Their methodology is borrowed from science, but the result is more invented mythology than empirical fact.

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Works on View Les Mis’, 2013 Louise Hervé And The Library Head, 1969–2014 Hand, Handkerchief, 1971 Sculpture #3 (Ray), 2014 Pen, ink, collage and crayon on paper Chloé Maillet Wood Acrylic on masonite Ceramic, watercolour, plinth Commissioned by Uri Aran Heavy Mountain I, 2012 The Waterway, 2014 White Head Lamp, 1969 Hand, Handkerchief, 1971 Liverpool Biennial 2014 Gouache on paper HD film, colour and sound, 23’ Mixed media Acrylic on masonite Departments, 2014 Commissioned by Liverpool Biennial Untitled (Crutches), 2013 Four oak and mixed media sculptures Is Immanent Colloquilum, 2012 2014, and co-produced by Contour White Sofa, 1970–72 Untitled, 1969–70 Video, 8’ 27” Commissioned by Gouache on paper 2013, 6th Biennial of Moving Image, Sofa upholstered in white vinyl Silkscreen on paper Commissioned by Liverpool Biennial 2014 Ljubljana Biennial of Graphic Arts Liverpool Biennial 2014 Earring and Kerchief, 2011 2013, and Göteborg International White Foot Sofa, 1968 Untitled (4 figures), 1968 Double Jack, 2014 Watercolour on paper Biennial for Contemporary Art within Sofa upholstered in white vinyl Felt-tip pen on paper (double sided) Untitled, 2013 Mixed media the frame of the European Culture Video, 14’ 14” When Shall We Three Meet Again?, Programme 2007–13 Untitled (candy), 1968 Jacques, 2014 2011 William Leavitt Felt-tip pen on paper Untitled (Heat up the Nickle), 2013 Oil pastel, ink, clear polyurethane, Watercolour and gouache on paper A Treatise on Baths, 2013 Video, 11’ 26” acrylic, wax on cut paper 35mm slideshow, 9’ Arctic Earth, 2014 Untitled (nutty chewy), 1968 Purple Tears, 2011 Mixed media installation with video Felt-tip pen on paper Untitled Clerk, 2014 Gouache on paper A Recess and a Reconstruction, 2011 projection and recorded music Untitled (It’s Napoleon), c.1967 2013 Wood, ink, pencil, wax, Super 8 film transferred to DVD, 20’ Ballpoint pen on paper Watercolour on paper metal brackets JZ Knight’s Outrageous Arctic Earth, 2013 Concepts, 2010 Acrylic on canvas Untitled (open shirt and Untitled Blue Jack, 2014 Collage, watercolour, Judith Hopf pants), c.1967 2013 Mixed media on paper gouache on paper Body Space, 2012 Ballpoint pen and marker on paper Watercolour on paper Untitled (baskets) Acrylic on canvas, fiberglass, wood, Uncle in Jail, 2014 Oui je t’aime Les Triangles, 2010 Mixed media artificial plant, and vermiculite Untitled (five shoes), c.1969 Untitled Mixed media Gouache and watercolour on paper Commissioned by Felt-tip pen, coloured pencil 2013 Liverpool Biennial 2014 Mod Ville, 2012 and collage on two sheets Watercolour on paper Untitled, 2014 Trojan 2, 2010 Oil paint on canvas of paper on paper Mixed media Watercolour and gouache on paper The Sumac is Like the Cherry All Peter Wächtler works Blossom Branch, 2014 Field Stone House, 2011 False Image Decals, c.1969 commissioned by Liverpool Biennial Untitled on Wood, 2014 Vertical Smiles, 2010 Bronze casts Pastel and acrylic on paper Felt-tip pen, coloured pencil and are co-produced by Contour 2013, 6th Mixed media on Formica Gouache, watercolour and collage Commissioned by collage on two sheets of paper Biennial of Moving Image, Ljubljana and ink on wood on paper Liverpool Biennial 2014 Red Rock Palms, 2011 Biennial of Graphic Arts 2013, and Pastel on paper Bagged, 1968 Göteborg International Biennial for Untitled 14, 2014 Money, 2010 Flock of Sheep, 2014 Acrylic on masonite, wood Contemporary Art within the frame Mixed media Found ethnographic figure in plinth Concrete and steel Roller House, 2011 of the European Culture Programme with drawings Pastel on paper 2007–13 Untitled Bus 1, 2014 Untitled, 2013 Michael Stevenson Mixed media on paper Fear is the Mind Killer, 2008 Rope and wire Twist Roller, 2011 Charcoal on paper Pastel on paper Strategic-Level Amelie Von Wulffen Baryshnikov’s, 2014 Spiritual Warfare, 2014 Mixed media Lady Silba, 2008 Judith Hopf And Solvent Molecule, 2009 Doors, steel frames, pneumatic Selection of Untitled works, HB Pencil on paper Henrik Olesen Acrylic on linen controls, conduit, compressed air, watercolour and ink on paper, Seasons, 2014 computing hardware, computing all made 2010–2013 Mixed media Sparkle, 2005 Türen, 2007 Chaco Rising, 2008 software, display screens, posters, Pencil on paper Video, 4’11’’ Acrylic on canvas, wooden stand, amplified sound This is how it happened, 2010 Still Life on White, 2014 vermiculite, speakers Commissioned by Watercolour and ink on paper Mixed media Liverpool Biennial 2014 Chris Evans Aaron Flint Jamison Reflecting Pool, 1989 This is how it happened, 2010 Teacher, 2014 Acrylic on canvas The Late Great Planet Earth, 2014 Watercolour and ink on paper Black marker, ink jet transfer, A Needle Walks into a Haystack, 2014 2x Scrypt Huffer, 2014 Selection of books from the black ink, wood stain on reversed Platinum and yellow gold ring with Application specific integrated artist’s archive At the Cool Table, 2013 photo paper diamonds, sapphires and heliodor circuits, heat sinks, wood, various Christina Ramberg Digital slide show, 28’ 36” (‘Flowergirl’) commissioned from power and data cables, hardware, Untitled Bus 2, 2014 Boodles responding to Liverpool carbon fibre, copper, foam, peltier Untitled (torso with pants), c.1982 STRAUTCHEREPNIN Mixed media on paper Biennial’s press release as a brief; devices, ESD material, fans, inverters, Acrylic on masonite jesmonite tablet, rosewood and ducting, air conditioner, screen, A Metaphysical Store, 2014 The Donut Gang, 2009 powder-coated steel vitrine books, servers Untitled (firm resolve … wavering), Sound, text, objects, mixed media Video, colour with sound, 7’ 40” Commissioned by Commissioned by 1980s Commissioned by Liverpool Biennial 2014 Liverpool Biennial 2014 Graphite and acrylic on paper Liverpool Biennial 2014

Marc Bauer Morning Star Rebranded, 2014 Untitled, 1980s Airbrush drawing and open letter Norma Jeane Acrylic on paper Josef Strau Untitled, 2014 Flowers Speaking, 2012 Charcoal, fat black chalk on wall Goofy Audit (Exceptions), (I–III), 2012 All Artists are Liars (Potlatch 9.2), Untitled (hips), c.1977 Poster, 2 lamps, sound on iPod, Commissioned by Concrete tablets on steel stands 2014 Felt-tip pen on paper 2 speakers, dvd with 19 slides, Liverpool Biennial 2014 Ice-maker connected to photovoltaic wire mesh Goofy Audit, (I–V), 2011 power generation system O.H.D., 1976 Beieinander, 2014 Concrete tablets on steel stands Commissioned by Acrylic on masonite King David Invoking, 2012 Pencil on paper Liverpool Biennial 2014 Poster, 2 lamps, sound on iPod, Company, 2009 Untitled, c.1975 2 speakers, dvd with 19 slides, Untitled, 2014 Mini DV, 6’00” Acrylic on masonite wire mesh Set of drawings, pencil Nicola L. and black pen on paper Untitled (shapes), 1972 Rana Hamadeh Head Table, 2008 Ballpoint pen on paper Peter Wächtler Einstein, 2010 Marble with metal base Pencil on paper Can You Pull in an Actor With a Untitled (wrapped torso), c.1972 Sculpture #1 (Octopus), 2014 Fishhook or Tie Down His Tongue Egg Round Table (Homage Ballpoint pen on paper Ceramic, watercolour, plinth Green Door, 2010 With a Rope?, 2014 to Marcel Broodthaers), 2008 Commissioned by Pencil on paper Eight-channel sound script and text Wood, acrylic, eggs, steel Untitled (bound heads), c.1972 Liverpool Biennial 2014 Commissioned by Liverpool Biennial Red and black ballpoint pen on Bonnie Camplin 2014 and co-produced with Festival Atmosphere, 2005 tracing paper Sculpture #2 (Eel), 2014 The DSV Technology, 2014 Steirischer Herbst, Graz Transparent cotton Ceramic, watercolour, plinth Animation, sound, light, objects Untitled (covered face), c.1971 Commissioned by Commissioned by The Alien Encounters La Femme Commode, 1969–2014 Felt-tip pen and coloured pencil on Liverpool Biennial 2014 Liverpool Biennial 2014 Project, 2011–ongoing Wood and white lacquer paper (typewritten text on reverse) Stage set with objects and script

16 17 S St. Andrews Gardens S St. Andrews Gardens Jef Cornelis

When he worked at VRT (the Dutch-language Belgian public All films originally produced Osaka, 500 pictures of the After All Meat (Jacq Vogelaar), 1981 OMA/Rem Koolhaas, 1985 by and broadcast on VRT 1, and Osaka Expo 70 by Bruno Suter colour, 60’ 20” colour, 75’ broadcasting corporation), Belgian television director Jef are listed here chronologically by and Peter Knapp, 1970 broadcast date. All the films are b/w, 5’ 50” The Back Room Daniel Buren, 1986 Cornelis (BE) made over 200 films. Many of them are here courtesy of Argos, Centre for Art (Daniël Robberechts), 1981 colour, 18’ 20” and Media in Brussels. Andy Warhol, 1970 colour, 62’ 30” and are newly translated into English. Some of the films b/w, 5’ 20” The Longest Day, 1986 are screened weekly and others can be selected from the Park Abbey Heverlee, 1964 Icebreaker 1: colour, 375’ 48” b/w, 29’ 45” Building in Belgium, 1971 Panamarenko, 1983 available library. b/w, 31’ 55” colour, 49’ Spazierganger mit Hund: Plus d’honneur, que d’honneurs, 1965 Sonsbeek ‘86, 1986 Through subversion, decoys and inventiveness, Jef b/w, 24’ Daniel Buren, 1971 Icebreaker 9: colour, 30’ 14” b/w, 5’ 50” Wednesday Night Fever, 1983 managed managed to circumvent the pre-formatted styles 33rd Venice Bienniale, 1966 colour, 59’ 25” A Public Bath for Münster, 1987 and demands of mass media, in this case TV. He explored b/w, 30’ Cogels Osylei, 1971 colour, 39’ 52” b/w, 10’ 32” Icebreaker 10: Make how art, architecture and culture are represented and talked 2nd International Salon of Me Laugh (Once More), 1983 Little Sparta. Et in Arcadia Ego, ‘Pilot Galleries in Lausanne, 1966 Sonsbeek Beyond colour, 74’ 37” (never broadcast) about – all the while asking questions about the medium of b/w, 16’15” Lawn and Order, 1971 colour, 41’ television itself. Often broadcast during prime slots in the b/w, 47’ 50” The Enigma of the Sphynx Martial Raysse, 1967 (Charles Vandenhove), 1983 Container 3: evening, the content and style of his television programmes b/w, 12’ 30” Meeting with Richard Hamilton, 1971 colour, 55’ 30” Heine’s Paper Cone, 1989 b/w, 36’ 30” colour, 60’ 55” interrupted the comfortable routine of home viewing. Things that aren’t mentioned: Icebreaker 15: Magic Versus Alice in Wonderland, 1968 Panamarenko, Antwerp 1940, 1972 Parapsychology, 1984 Landscape with Churches, 1989 b/w, 34’ 40” b/w, 5’ 25” colour, 60’ colour, 34’ 54” The selection of films and weekly programmes are curated Three Blind Mice, 1968 Documenta 5, 1972 Icebreaker 16: Bodies – Models, 1984, Jan Vercruysse, 1990, 1990 by Koen Brams. b/w, 39’ b/w and colour, 53’ 30” colour, 73’ 40” b/w and colour, 20’ 40”

Documenta 4, 1968 The Street, 1972 Icebreaker 19: Collectors, 1984, Fine Arts, Far Away: b/w, 53’ 40” colour, 41’ 25” colour, 60’ Pau Brasil, 1992 colour, 57’ Marcel Broodthaers, 1969 Marcel Broodthaers, Icebreaker 20: Computer Art, 1984, b/w, 4’ 46” Musée des Aigles, 1972 colour, 63’ 30” Voyage à Paris, 1993 b/w, 5’ 15” colour, 51’ James Lee Byars: Icebreaker 21: Fashion, 1984 An American Artist, 1969 M’Zab, City Life in the Desert, 1974 colour, 65’ The Music Box, 1994 b/w, 32’ 30” colour, 47’ 30” colour, 58’ Icebreaker 22: James Lee Byars: The World You Know the Way and Cultural Management, 1984 Brussels, Pieces of Happiness, 1995 Question Centre, 1969 the Language, 1976 colour, 80’ colour, 57’ 16” b/w, 60’ colour, 45’ 10” 13th Paris Biennale, 1985, A Weekend with Mr. Magritte Richard Hamilton, 1970 Highway N°1, 1978 colour, 67’ 40” (Saturday/Sunday), 1997 b/w, 5’ 25” colour, 43’ b/w and colour, 50’ Castello di Rivoli, 1985 The Dreamed Book, 1980 colour, 31’ colour, 45’ 15”

18 19 T Wolfson Gallery, Tate Liverpool T Wolfson Gallery, Tate Liverpool Claude Parent

Wolfson Gallery

Claude Parent (FR) is one of the most radical figures of 3 8 French avant-garde architecture, and La colline de l’art (Art Hill) is the latest demonstration of the oblique function — 6 a principle of architecture he developed in the 1960s with theorist Paul Virilio, made manifest in buildings such as 11 Villa Drusch, Versailles 1963-65 and the Church of Sainte- 14 13 12 10 Bernadette du Banlay, Nevers 1966. Defying convention, the idea proposes that buildings incorporate ramps and slopes, 2 avoid right angles and be wall-free where possible. Within 1 such constructions, bodies behave in new and unusual ways 7 5 that heighten the senses as well as reshape interpersonal 15 dynamics and hierarchies. Parent applied the oblique function to his own home in Neuilly near Paris, drawings 9 of which can be found on the second floor. 4 La colline de l’art is specially commissioned for this gallery. The works from Tate’s collection, selected by Parent with Mai Abu ElDahab, emphasise his interest in exploiting geometry, shared with artists Naum Gabo, Helen Saunders, Edward Wadsworth and Gillian Wise, and his commitment to radically rethinking the tenets of his field, something also seen in the practices of Gustav Metzger and Francis Picabia. Claude Parent 4 8 12 Throughout his career, the self-taught Parent has La colline de l’art (Art Hill), 2014 Wooden structure Naum Gabo Babette Mangolte Helen Saunders disseminated his ideas through various tools – drawings, Commissioned by Liverpool Model for ‘Construction in Trisha Brown WATER MOTOR, 1978 Abstract Multicoloured Biennial and Tate Liverpool models and plans – as a means of seeing the world, not Space, Suspended’, 1965 Film, 35mm, or video, projection, Design, c.1915 restricted to abstract propositions. His ideas continue to Plastic and nylon thread b/w, 7’ 55” Gouache, watercolour 1 Tate. Presented by the artist 1977 Tate. Lent by the American Fund and graphite on paper make their way into other architects’ constructions, changing for the Tate Gallery 2011 Tate. Presented by Miss Ethel M. Saunders in memory for some people how they live and how they experience their Anni Albers 5 9 of her sister 1963 TR III, 1969–70 surroundings. Parent’s La colline de l’art exposes the viewer Silkscreen on paper Tate. Lent by the American Fund Model for ‘Monument to Gustav Metzger 13 to this very change. for the Tate Gallery, courtesy of the Astronauts’, 1966–68 Recreation of First Public Melinda Shearer Maddock 2001 Plastic, paper, graphite Demonstration of Auto-Destructive Tate. Presented by the artist 1977 Art, 1960, remade 2004 Edward Wadsworth La colline de l’art Glass, fabric, table, trash bag, The Port, c. 1915 houses works from the Tate Collection paper, plastic, steel Woodcut on paper 2 6 Tate. Purchased 1970 by Anni Albers (DE/US), Carlos Cruz-Diez (VZ/FR), Paul Tate. Presented by the artist 2006

Delvaux (BE), Naum Gabo (RU/US), Mark Leckey (UK), Roy Carlos Cruz-Diez Mark Leckey 10 14 Physichromie No. 123, 1964 Felix Gets Broadcasted, 2007 Lichtenstein (US), Babette Mangolte (FR), Gustav Metzger Cellulose acetate and wood Video, monitor, colour and sound; (DE/UK), Paul Nash (UK), Francis Picabia (FR), Helen Tate. Transferred from the wood and two-pack car lacquer, 5’ Paul Nash The Open Window, c. 1915 Victoria & Albert Museum 1983 Tate. Purchased with assistance Voyages of the Moon, 1934–37 Woodcut on paper Saunders Edward Wadsworth Gillian Wise from Charles Asprey 2009 Oil paint on canvas Tate. Purchased 1970 (UK), (UK), (UK). Tate. Purchased 1951 3 7 15

11 Architectural assistants to Claude Parent are Claire Paul Delvaux Roy Lichtenstein Gillian Wise Davisseau and Blanche Granet. Special thanks to Naad Sleeping Venus/ Moonscape, 1965 Francis Picabia Looped Network Suspended Parent and Benjamin Seror. La Vénus endormie, 1944 Screenprint on plastic The Fig-Leaf / in Pictorial Space, 1974 Oil paint on canvas Tate. Presented by the Museum La Feuille de vigne, 1922 Acrylic paint on plastic Tate. Presented by of Modern Art, New York 1976 Oil paint on canvas Tate. Presented by the Baron Urvater 1957 Tate. Purchased 1984 Contemporary Art Society 1975

20 21 T Second Floor, Tate Liverpool T Second Floor, Tate Liverpool

Exhibition curated from Riverside the Tate Collection

Here is an unusual assemblage of works from the Tate collection that plays with the idea of a domestic environment where artworks may be, at first glance, viewed as the images and functional objects we encounter and use everyday. It is an invitation to imagine that the institutional galleries of the 1 museum are themselves a home and the artworks on display are the mundane objects within it. Through this curatorial approach, the conventions associated with a canonical narrative are replaced with a more personalised story coloured by your own memories and associations. By alluding to the intimate space of a home, the exhibition presents a broad range of works and stages them via metaphorical gesture, affirming a vital place for art in daily life. The objects that fill our homes, with which we interact and live every day, are here replaced with artworks that change these objects’ meanings and functions through scale, design, invention and misunderstanding. If this were a home, who would its owner be? What story would bring these objects together? What if everything about a home was filtered through an artist’s vision? 2

Works from the Tate Collection are by Ivor Abrahams (UK), Helena Almeida (PO), Richard Artschwager (US), Francis Bacon (UK), Rut Blees Luxemburg (DE/UK), Claude Cahun (FR), Patrick Caulfield (UK), Marc Camille Chaimowicz (FR/ UK), Giorgio de Chirico (IT), Saloua Raouda Choucair (LE), Joseph Cornell (US), Keren Cytter (IS), André Derain (FR), Sam Durant (US), André Fougeron (FR), Naum Gabo (RU/US), Henri Gaudier-Brzeska (FR), Robert Gober (US), Nan Goldin (US), Spencer Gore (UK), Philip Guston (US), Richard Hamilton (UK), Vilhelm Hammershoi (DK), Susan Hiller (US), David Hockney (UK), Sanja Ivekovic´ (CRO), George Jones (UK), RB Kitaj (US), Sherrie Levine (US), Linder (UK), Andrew Lord (UK), Lucy McKenzie (UK), Sylvia Melland (UK), Rodrigo Moynihan 3 (UK), Paul Nash (UK), Gabriel Orozco (MX), Blinky Palermo (DE), Blinky Palermo and Gerhard Richter (DE), Claude Parent (FR), Thomas Schütte (DE), Kurt Schwitters (DE), Thomas Struth (DE), Andy Warhol (US), Rachel Whiteread (UK) with additional drawings by Claude Parent (FR).

This exhibition is curated by Mai Abu ElDahab with Stephanie Straine, Assistant Curator, Tate Liverpool.

22 23 T Second Floor, Tate Liverpool T Second Floor, Tate Liverpool

Riverside Saloua Raouda Choucair Drawing (with pigment) / Drawing (with pigment) / The Screw, 1975–7 Desenho (com pigmento), 1995–99 Desenho (com pigmento), 1995–99 Dockside 1 Wood Ink and pastel on paper Ink and pastel on paper Tate. Presented by the Saloua Tate. Purchased with funds Tate. Purchased with funds Raouda Choucair Foundation, provided by the 2011 Outset / provided by the 2011 Outset / Francis Bacon Beirut, Lebanon 2011 Frieze Art Fair Fund to benefit Frieze Art Fair Fund to benefit Rug, c.1929 the Tate Collection 2012 the Tate Collection 2012 Wool Nan Goldin Tate. Lent from a private Greer and Robert on Drawing (with pigment) / Drawing (with pigment) / collection 2009 the bed, NYC, 1982 Desenho (com pigmento), 1995–99 Desenho (com pigmento), 1995–99 Photograph, colour, Cibachrome Ink and pastel on paper Ink and pastel on paper Patrick Caulfield print, on paper mounted onto board Tate. Purchased with funds Tate. Purchased with funds Coat Stand, 1973 Tate. Purchased 1997 provided by the 2011 Outset / provided by the 2011 Outset / Screenprint on paper Frieze Art Fair Fund to benefit Frieze Art Fair Fund to benefit Tate. Presented by Rose and Chris Spencer Gore the Tate Collection 2012 the Tate Collection 2012 Prater through the Institute of The Gas Cooker, 1913 Contemporary Prints 1975 Oil paint on canvas Drawing (with pigment) / Drawing (with pigment) / Tate. Presented by the Trustees Desenho (com pigmento), 1995–99 Desenho (com pigmento), 1995–99 Loudspeaker, 1968 of the Chantrey Bequest 1962 Ink and pastel on paper Ink and pastel on paper Screenprint on paper Tate. Purchased with funds Tate. Purchased with funds Tate. Presented by Rose and Richard Hamilton provided by the 2011 Outset / provided by the 2011 Outset / 8 Chris Prater through the Institute In Horne’s house, 1981–82 Frieze Art Fair Fund to benefit Frieze Art Fair Fund to benefit of Contemporary Prints 1975 Etching, engraving and the Tate Collection 2012 the Tate Collection 2012 aquatint on paper Saloua Raouda Choucair Tate. Purchased 1991 Drawing (with pigment) / Richard Artschwager Infinite Structure, 1963–65 Desenho (com pigmento), 1995–99 Table and Chair, 1963–64 Tufa stone R.B. Kitaj Ink and pastel on paper Melamine and wood Tate. Purchased with funds provided Bedroom, 1971 Tate. Purchased with funds Tate. Purchased 1983 by the Middle East North Africa Screenprint on paper provided by the 2011 Outset / Acquisitions Committee 2011 Tate. Presented by Rose and Frieze Art Fair Fund to benefit Patrick Caulfield Chris Prater through the Institute the Tate Collection 2012 Pipe in Bowl, 1976 Sam Durant 7 of Contemporary Prints 1975 Screenprint on paper Abandoned House #1 Drawing (with pigment) / Tate. Presented by (Case Study #22), 1995 Sylvia Melland Desenho (com pigmento), 1995–99 Rose and Chris Prater 1978 Wood, foam core, cardboard, Still Life with an Open Window, 1931 Ink and pastel on paper Plexiglas, paper tape, Oil paint on canvas Tate. Purchased with funds Braque Curtain, 2005 spray enamel, metal Tate. Presented by provided by the 2011 Outset / Acrylic paint on canvas Tate. Presented by the American David Melland 1997 Frieze Art Fair Fund to benefit Tate. Purchased with assistance Fund for the Tate Gallery, the Tate Collection 2012 from Tate Members 2010 courtesy of Dean Valentine Thomas Schütte and Amy Adelson 2009 Four Sisters in the Bath / Drawing (with pigment) / André Derain 6 Vier Schwestern im Bad, 1989 Desenho (com pigmento), 1995–99 Still Life / Nature morte, c.1938–43 André Fougeron Bricks, pebbles, terracotta, Drawing (with pigment) / Oil paint on canvas Return from the Market / wax, polyurethane foam, paint Desenho (com pigmento), 1995–99 Tate. Purchased with assistance Retour du marché, 1953 Tate. Purchased with assistance Ink and pastel on paper from Cognac Courvoisier 1986 Oil paint on canvas from Tate Members 2009 Tate. Purchased with funds Tate. Purchased 2001 provided by the 2011 Outset / Vilhelm Hammershoi Kurt Schwitters Frieze Art Fair Fund to benefit Interior, Sunlight on the Floor, 1906 Paul Nash (Togetherness), c.1945–47 the Tate Collection 2012 Oil paint on canvas Landscape at Large, 1936 Mixed media Tate. Purchased 1930 Paper, pine and shale on paper Tate. Lent by Geoff Thomas 1991 Drawing (with pigment) / Tate. Purchased 1986 Desenho (com pigmento), 1995–99 David Hockney Ink and pastel on paper Drawing for ‘Glass Table Blinky Palermo 3 Tate. Purchased with funds with Objects’, 1969 Projektion, 1971 provided by the 2011 Outset / Graphite, crayon and Lithograph on paper Frieze Art Fair Fund to benefit gouache on paper Tate. Purchased with assistance from Helena Almeida the Tate Collection 2012 Tate. Presented by Klaus Anschel Tate Members and Tate Patrons 2012 Drawing (with pigment) / Desenho (com pigmento), 1995–99 in memory of his wife Gerty 1997 4 Drawing (with pigment) / Treppenhaus, 1970 Ink and pastel on paper Desenho (com pigmento), 1995–99 George Jones Screenprint on cardboard Tate. Purchased with funds Ink and pastel on paper [Title not known] Tate. Purchased with assistance from provided by the 2011 Outset / Tate. Purchased with funds Graphite and watercolour on paper Tate Members and Tate Patrons 2012 Frieze Art Fair Fund to benefit the Tate Collection 2012 provided by the 2011 Outset / Tate. Presented by the artist’s Frieze Art Fair Fund to benefit widow in 1888 Blinky Palermo and Gerhard Richter the Tate Collection 2012 Telefon, 1971 Drawing (with pigment) / Desenho [Title not known] Screenprint and letterpress on paper (com pigmento), 1995–99 Drawing (with pigment) / Desenho Ink on paper Tate. Purchased with assistance from Ink and pastel on paper 5 (com pigmento), 1995–99 Tate. Presented by the artist’s Tate Members and Tate Patrons 2012 Tate. Purchased with funds provided by the 2011 Outset / Ink and pastel on paper widow in 1888 Frieze Art Fair Fund to benefit Tate. Purchased with funds 2 the Tate Collection 2012 provided by the 2011 Outset / [Title not known] Frieze Art Fair Fund to benefit Ink on paper the Tate Collection 2012 Tate. Presented by the artist’s Patrick Caulfield Drawing (with pigment) / Desenho widow in 1888 7. ‘Crying to the walls: My God! (com pigmento), 1995–99 Drawing (with pigment) / My God! Will she relent?’, 1973 Ink and pastel on paper Desenho (com pigmento), 1995–99 Screenprint on paper Tate. Purchased with funds Ink and pastel on paper Tate. Purchased 1976 provided by the 2011 Outset / Frieze Art Fair Fund to benefit Tate. Purchased with funds the Tate Collection 2012 provided by the 2011 Outset / Frieze Art Fair Fund to benefit the Tate Collection 2012

24 25 T Second Floor, Tate Liverpool 19–21 September 2014

Dockside Thomas Struth Henri Gaudier-Brzeska Oxford Gardens II, 1977 The Smith Family, Fife, Garden Ornament, 1914 Screenprint and varnish on paper The Companion 4 Scotland 1989, 1989 Plaster Tate. Presented by Evelyne Photograph, colour, on paper Tate. Presented by Abrahams, the artist’s wife 1986 Tate. Purchased with assistance from Hanover Gallery 1960 Rut Blees Luxemburg the Friends of the Tate Gallery 1995 Oxford Gardens I, 1977 The Libertine Sofa, 2003 Andrew Lord Screenprint and varnish on paper Photograph, colour, Coffee service and tray. Tate. Presented by Evelyne Chromogenic print, on paper 5 Impressionist set, 1978 Abrahams, the artist’s wife 1986 mounted onto aluminium Ceramic Tate. Presented by the artist 2004 Patrick Caulfield Tate. Presented by the artist in Lady in Niche, 1973 For three days, a group of artists, performers, musicians, Bathroom Mirror, 1968 honour of Pauline Karpidas 2013 Fibreglass and polystyrene Claude Cahun Screenprint on paper Tate. Purchased 1982 writers, cooks, dancers, comedians and impostors come Untitled, 1936 Tate. Presented by Rose and Lucy McKenzie Photograph, b/w, on paper Chris Prater through the Institute Side Entrance, 2011 Privacy Plots IV: Gate Post together for The Companion, an event to take place in the city Tate. Purchased 2007 of Contemporary Prints 1975 Oil paint and graphite on canvas and Hedge, 1970 centre, including a pub, a club, a theatre and a dance studio. Tate. Purchased 2012 Screenprint, varnish and Patrick Caulfield Sanja Ivekovic flock fibre on paper Vase on Display, 1970–71 The Companion has no pre-determined form. Instead, it finds Instructions No. 1 / Gabriel Orozco Tate. Presented by Evelyne Screenprint on paper Instrukcije br. 1, 1976 (No title), 2002 Abrahams, the artist’s wife 1986 structure in the logic of improvisational music and song, both Tate. Presented by Rose and b/w video, monitor, 6’ Etching on paper Chris Prater through the Institute Tate. Purchased 2008 Tate. Purchased 2003 Garden Suite III, 1970 of which are central to the event. The performances, speeches of Contemporary Prints 1975 Screenprint on paper and gestures that occur evolve from an ongoing conversation Sherrie Levine (No title), 2002 Tate. Presented by Rose and Marc Camille Chaimowicz 2 Shoes, 1992 Etching on paper Chris Prater through the Institute Vienna Triptych, Leaning...and and are inspired by the idea of an ancient symposium, a Leather Tate. Purchased 2003 of Contemporary Prints 1975 Surrounded by Chorus Girls and Tate. Presented by the American long dinner party punctuated by music and spontaneous Sentinels, 1982 Fund for the Tate Gallery, courtesy (No title), 2002 Garden Suite IV, 1970 Eight painted plywood panels and of Eileen and Peter Norton 2009 Etching on paper Screenprint on paper commentary on a subject of shared interest. 70 photographs, gelatin silver print Tate. Purchased 2003 Tate. Presented by Rose and on paper, between six glass panels It takes place at the Black-e, The Kazimier, Linder Chris Prater through the Institute Tate. Presented by Tate Untitled, 1976 Claude Parent of Contemporary Prints 1975 Members 2011 the Philharmonic pub, amongst other locations. Printed papers on paper Dispositif pour les repas (sol), 1971 Tate. Purchased 2007 Black marker on Canson paper Privacy Plots III: Suburban Hedge, More details available online closer to the event. Giorgio de Chirico Tate. Courtesy of the artist 1970 The Painter’s Family Andy Warhol Screenprint and flock fibre on paper La Famille du peintre, 1926 Untitled (Beauty Products), 1960 Dispositif séjour, 1971 Tate. Presented by Evelyne Oil paint on canvas The Companion is Federica Buetti (IT) and Jan Verwoert Gouache and graphite on paper Black marker on Canson paper Abrahams, the artist’s wife 1986 Tate. Purchased 1951 Tate. Purchased 1988 Courtesy of the artist (DE), Concert [Chris Evans (UK), Morten Norbye Halvorsen Privacy Plots V: Hedge and Street, Joseph Cornell Appartement de Claude Parent 1970 (NO) and Benjamin Seror (FR)], Jeremiah Day (US), Géraldine Planet Set, Tête Etoilée, 6 à Neuilly restructuré en 1974 Screenprint and flock fibre on paper Giuditta Pasta (dédicace), 1950 Geffriaud (FR), Josephine Foster (US) and Victor Herrero à l’oblique, dispositif de la salle Tate. Presented by Evelyne Glass, crystal, wood, paper des repas avec table à deux Abrahams, the artist’s wife 1986 Tate. Purchased 1974 Susan Hiller (ES), Will Holder (UK), Hassan Khan (EG), James English Belshazzar’s Feast, the Writing niveaux, 1971 Black and blue marker Karen Cytter Leary (US), Jaxson Payne (UK), Mounira al-Solh (LB), Lucy Robert Gober on Your Wall, 1983–84 on tracing paper The Coat, 2010 Untitled, 1989–92 Sofa, armchairs, tables, pillows, Courtesy of the artist Video, HD, projection, colour Skaer (UK), C. Spencer Yeh (TW/US); and Oskar Schlemmer Wax, wood, leather, lamps, artificial plants, rug, and sound and film, 35mm, 5’ 53’ fabric, human hair 12 works on paper, wallpaper, video Dances with Erik Eriksson (SE), Darko Radosavljev (DE), Alma Dispositif pour les repas, 1975 Tate. Presented by Outset Tate. Purchased 1992 Tate. Purchased 1984 Black marker on Canson paper Contemporary Art Fund 2010 Toaspern (DE) and Christoph Wavelet (FR), and some more. Courtesy of the artist Philip Guston 7 Andrew Lord Curtain, 1980 Rachel Whiteread Breathing, 1996–2000 Lithograph on paper Francis Bacon Stair Space III, 1995 Ceramic, epoxy, gold leaf, The Companion is conceived by Mai Abu ElDahab Tate. Presented by the American Rug, c.1929 Resin, ink and correction encre de Chine, oak table Fund for the Tate Gallery, courtesy of and Angie Keefer. Wool fluid on paper Tate. Purchased with assistance a private collector 1996 Tate. Lent from a Tate. Presented by the artist 2010 from the Karpidas Family (Tate private collection 2009 Americas Foundation) 2013 Studio Corner, 1980 Lithograph on paper 8 Rug, c.1929 Tate. Presented by the American Wool Fund for the Tate Gallery, courtesy Tate. Lent from a Ivor Abrahams of a private collector 1996 private collection 2009 Femme du Midi I, 1979 Andrew Lord Patrick Caulfield Etching on paper Untitled (from the Gauguin Series), Still Life with Dagger, 1963 Tate. Presented by Evelyne 2004–12 Household paint on hardboard Abrahams, the artist’s wife 1986 Ceramic, silver, epoxy Tate. Purchased 1976 Tate. Purchased with assistance Femme du Midi III, 1979 from the Karpidas Family (Tate Vases of Flowers, 1962 Etching on paper Americas Foundation) 2013 Household paint on hardboard Tate. Presented by Evelyne Tate. Purchased with assistance Abrahams, the artist’s wife 1986 Rodrigo Moynihan from the Tate Gallery Publications The Shelf: Objects and Shadows – Department and the Trustees of Oxford Gardens III, 1977 Front View, 1982–83 the Tate Gallery Trust Fund 1976 Screenprint on paper Oil paint on canvas Tate. Presented by Evelyne Tate. Presented by the Friends Naum Gabo Abrahams, the artist’s wife 1986 of the Tate Gallery 1984 Model for ‘Column’, 1920–21 Cellulose nitrate Tate. Presented by the artist 1977

26 27 A Needle Walks into A Haystack Acknowledgements The Book Liverpool Biennial 2014

Also a site of the Biennial, the book extends the thinking Established in 1998, Liverpool Biennial, the UK Biennial behind the exhibition by locating a similar spirit in the work of Contemporary Art, commissions and presents work of cultural critics, novelists, philosophers, poets, and others by leading international contemporary artists, architects, who work with the written word. The publication is co-edited designers, writers and performers. with Camille Pageard and includes writings by Keren Cytter Liverpool Biennial 2014 is the 8th edition and takes place (IL), Angie Keefer (US), Hassan Khan (EG), Karl Larsson at venues across the city. There are many organisations (SE), Eileen Myles (US), Lisa Robertson (CA) and Matthew presenting exhibitions and projects in the city concurrently Stadler (US), David Antin (US), George Szirtes (HU), Edward with the Biennial including our partner exhibitions the John Said (PL/US), and the curators, with drawings by Abraham Moores Painting Prize and Bloomberg New Contemporaries Cruzvillegas (MX). It is published by Koenig Books and and exhibitions at Open Eye Gallery and Liverpool John Liverpool Biennial. Moores University’s Exhibition Research Centre.

For more information and listings please see www.biennial.com

Principal Funders

Founding supporter James Moores

Commissions Partners

Partners

Abraham Cruzvillegas from the series Autoportrait avec pouce opposable, 2013

29 Sponsors and Supporters colophon

8th Liverpool Biennial Liverpool Biennial Staff 5 July – 26 October 2014 Rachael Bampton-Smith, Marketing Consultant; Francesca Bertolotti, Head of Production; Oliver Artistic Director Bliss, Volunteer and Arts Award Co-ordinator; Emily Sally Tallant Cruz, Development Officer; Zainab Djavanroodi, PA and Operations Executive; Louise Garforth, Head of A Needle Walks into a Haystack Development; Joseph Grima, Curatorial Correspondent; Curators Ellen Greig, Assistant Curator; Elizabeth Hayden, Mai Abu ElDahab Education Intern; Charlotte Horn, Mediation Coordinator; Anthony Huberman Jane Howard, HR Consultant; Matthew Howard, Finance Assistant; Joanne Karcheva, Communications Officer; Liverpool Biennial Curatorial Team Simone Mair, Assistant Curator; Alix Medlyn-Davies, Rosie Cooper, Project Curator Mediation Coordinator; Allison Mottram, Finance Officer; Vanessa Boni, Public Programme Curator Sinead Nunes, Marketing Intern; Penny Sexton, Clore Polly Brannan, Education Curator Secondment; Priya Sharma, Production Assistant; Ellen Greig, Assistant Curator Paul Smith, Executive Director; Zoe Thirsk, Business Simone Mair, Assistant Curator Development and Events Officer; Sally Thompson, IT Support; Franny Williams, Participation Coordinator; Graphic Design Dominic Willsdon, Curatorial Correspondent and Sara De Bondt studio everyone else who has helped us with the delivery (Sara De Bondt and Mark El-khatib) of the Liverpool Biennial 2014 Exhibition. Commissions Supporters The title A Needle Walks into a Haystack is typeset in Churchward Curatorial Interns Marianna, designed by New Zealand typedesigner Joseph Churchward (1933 – 2013) as an homage to his daughter Marianna. Roisin Astell, Elizabeth Edge, Jennifer Gleadell, Steven The book A Needle Walks into a Haystack is typeset in Joanna, Hyland, Emma Kelly, Robert Larkin, Faye O’Neil, designed by British typedesigner Eric Gill (1882–1940) as an Natasha Peel, Thomas Pitts and James Schofield homage to one of his daughters. Thank You The Bluecoat The curators would like to thank the artists for their Leisure, Discipline and Punish CORPORATE PATRONS Bryan Biggs, Artistic Director profound commitment, the team of Liverpool Biennial, Sara-Jayne Parsons, Curator The Bluecoat, FACT and Tate Liverpool for making the show possible, the volunteers and mediators as well FACT (Foundation for Art and Creative Technology) as the individuals, galleries and museums who lent the Mike Stubbs, Director works to the exhibition. Ana Botella, Programme Producer The curators would also like to thank François Aubart, Tate Liverpool Stuart Bailey, Jayne Casey, John Corbett and Jim GALLERY CIRCLE Francesco Manacorda, Artistic Director Dempsey, Claire Davisseau, Alexandra Pacheo Garcia, Stephanie Straine, Assistant Curator Maia Gianakos, Blanche Granet, Carol Greene and Vera Alemani, Merlin James, Isla Leaver-Yap, Margaret Air de Paris kurimanzutto Pilar Corrias MacDonald, Martin McGeown, the Mathematics and Dépendance Lars Friedrich Reena Spaulings Fine Art Computer Sciences Department at Liverpool John Greene Naftali neugerriemschneider Sadie Coles HQ Moores University, Rosalind Nashashibi, Naad Parent, November Paynter, Emily Pethick, Jenelle Porter, Rolf PATRONS Quaghebeur, Chiara Repetto, Alex Sainsbury, Mark Sladen, Sandra Terdjman, Harald Thys, Vincent van der Marck, and Margot Vanheusden. Helen Ainscough Nicoletta Fiorucci Daniel and Alison Rees The Bloxham Charitable Trust Magnus and Elise Greaves Paul and Elizabeth Reeve Mai Abu ElDahab would like to thank Master Alexandre Philippe Boylan John and Ellie Greenslade Paula Ridley Benjamin Seror, Angie Keefer and Will Holder. The Countess of Derby Roland and Rosemary Hill Luke Trevaskis Jim Davies Jan and Mandy Molby Nicholas and Alex Wainwright Anthony Huberman would like to thank Simon Edwards Barry and Sue Owen Peter Woods and Francis Ryan Juana Berrío, Thomas Boutoux, Benjamin Thorel, Anna Fox and Peter Goodbody Sue and Ian Poole Anthony Elms, Larissa Harris and Gedi Sibony.

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