2 Collective with Ruth Ewan and Åbäke 2 Introduction

Me and my friends were in a family park near my house, we were only young, like 13? 14? And we’re not The title of this art work relates to a that intimidating, I mean, look at me! conversation between Tate Collective We were just hanging around on the Liverpool and Ruth Ewan. We discussed how roundabout and there was another young people use and relate to the spaces they family there. inhabit in the city. I don’t know, I definitely felt like This discussion explores the idea of the scary teenagers in the park, like where young people belong. Where are the ‘stay away from them’ or something. spaces allocated for young people within the I don’t know, I felt in the way, a bit city? Why are the spaces that young people of an inconvenience, like, you feel choose to inhabit so often given negative like a threat, don’t you? Not like I’m connotations? Where are the young people threatening, but I felt a bit like they supposed to go? And why are we trying so thought I might be, like a bother to hard to ‘keep them off the streets’? them or something.

4 A member of tate collective LIVERPOOL describes her trip to liverpool’s chavasse park to ask young people how they feel ABOUT using the space. They spoke more positively than negatively, they didn’t want to change anything, and it didn’t seem like there was too much bother up there anyway. I asked about the guards, and if the young people ever got moved on, but they said that only really happened when one of the groups was drinking, and then the guards felt obligated to move them all on, no matter if they were making trouble or not. So they said that’s quite annoying. There was definitely a sense of mutual respect and agreement among them, like, they definitely all have their own little sections of Chavasse park. When i was speaking to them they seemed like they needed someone more sociable to instigate it kind of? I was speaking to two lads and a couple of girls came up to us kind of like hey girl, what you asking them, ask us so I spoke to them too. It was all pretty casual, I knew that if I went up to them with a pen, paper, a recorder, or even a camera, straight away they’d be like she wants something, she’s going to ask us to answer a survey, like when I was speaking to the guy at first he was like have you got a questionnaire? But i just told him it’d be general questions rather than have ticking boxes or whatever. yeah, I think it’s just, if you’re a young person you know that if someone comes at you with a clipboard, like, you immediately refuse. In the midst of Liverpool One, I think chatting just put me at ease and I think Pencil drawing by Sumuyya Khader it put them at ease and made them feel a bit more comfortable. I just made sure I addressed them as a group, but then when one guy stepped up and took charge the rest were more comfortable with him speaking on their behalf. so yeah, I think just having people be anonymous as well, especially if they’re younger makes it easier, in a sense, and if they want their name then they can have their name, because I think at that age you do kind of travel as a group, you do have individual voices but you’re kind of friends for a reason because you’ve got that common theme or something?

5 6 Members of the Collective invited family and friends to share their experiences of growing up in Liverpool.

Anonymous, 51

It was the summer of 1981 and I was an auxiliary nurse working in Princes Park hospital. The riots had started and a lot of the elderly patients, upon hearing the noise and seeing the smoke, thought they were back in the war days. They were crying and very scared about what might happen to them. It was a very frightening and harrowing time. The majority of patients were evacuated to the Women’s hospital on Catherine street and the Royal Hospital. On seeing the evacuation some of the rioters and also local people hearing what was going on helped with the evacuation. I was only 20 at that time and still living at home with my parents and siblings in that area. Given that unlike now there were no mobile phones none of us knew whether the family was safe or not. I was escorted part of the way home by two police officers along with a couple of nurses still in our uniforms which traveling to and from work in uniform was frowned on then. My family were all safe and relieved that everyone was accounted for and ok.

Anonymous, 40s

Carnival time in Liverpool not sure of the year think it was late 70’s and you would always look forward to see what a guy called Shadow would appear as this one year I can still vividly remember him as a fifty pence piece which was a sight to be seen.

7 The Artist

It was my old friend’s birthday and we went out for a meal at Nando’s by Queen Square. It was boring because that group of friends only talked about boys and getting drunk. But I still attended out of courtesy. The meal was ok until the waiter spilt a glass of rosé on me. I was annoyed but to the joy of my friends, they received a free bottle of rosé because of the accident. The girls got tipsy and I started feeling annoyed because they kept pulling on me and being arrogant because they wanted to look cool. Then, we went off to Concert Square and I watched—and reluctantly followed— the girls’ desperate attempt to get into clubs. It was just sad and I got extremely annoyed at their behaviours. so, I suppose that’s one of the reasons why I don’t really like going clubbing—at least with them. It was sad because we ended up in a tiny bar with sleazy men dancing next to us. And it was my friend’s 18th birthday, that’s why getting into a club was a big deal. I had a proper meal but they only ordered chips— that pissed me off too.

The Girlfriend

I’ve been trying to think of a story for ages but my brain is so dead that everything I think of sounds stupid when I try and word it. Can you put into decent prose the story of the man who asked who had died when I was carrying those flowers my boyfriend bought me... you know how it goes? Or ask him, he’ll be better at this.

The Boyfriend

We were walking along the waterfront, me and my girlfriend. I’d bought her some flowers, and she was carrying them—or I might have been carrying them because she didn’t want to carry them around everywhere. No, I’m pretty sure she was holding them at this point. It was near a at the back of the Liverpool Museum, we were just walking along like usual—we go there quite often. A bit of a ragged looking old man was walking in the other direction to us and said in a jolly manner ‘who’s died?’ My girlfriend didn’t miss a beat and replied ‘no one—yet’ before I could realise he was talking about the flowers. It was one of those funny little moments. We ended up in stitches somehow, so whenever we see someone with flowers now we say to each other ‘who’s died?’

8 8 The Old Timer

Outside the old Lewis’. You know, not the bit on the main road.

I was saying goodnight to a girl I was courting, when I seen some dodgy fella walking up to us. I thought I better hang around a bit here, and he comes up to us, to her actually, and says give us your bag. I was like who the fuck are you mate? Fuck off. she was telling me to ignore him but he wasn’t going to go away. It was dark remember, and he had his hand in his pocket and said I’ve got a gun here. So she gave him her bag, but I wasn’t having it and said don’t give it to him, but she gave it him and was pushing us away from him saying he’s got a gun, so I had to step back, and he was halfway down the road now. I shouted after him what did you have there? And he pulled out just a knife. I was going mad if I’d have known it was just a knife I’d have battered him.

Carol, 48

Liverpool, Dingle growing up in tenements, with large playgrounds, it felt like hundreds of children playing British bulldog, in some organised, complicated set of rules and we ran round as if our life depended on it. The stone steps worn thin in the middle. The smell of the communal chute where we used to throw our rubbish down each landing had its own drawer on a hinge open it throw your rubbish in and it would hit the huge bins on the ground floor. Ah the smell of wet potato peelings and rotten veg. old ladies sitting on doorsteps white hair and black shawls draped around them watching the world go by. Mothers wailing on landings a cot death has occurred and children whispering in alleyways not yet aware of other lifestyle but other worlds.... mothers standing chatting on the landings the ships horns in the distance. And a christmas eve, a black man walking home in white snow his ship had just arrived children running up the various stone steps past curved verandahs ya dads home and he was at the front door of 29b from deep sea unexpected standing there in regulation smart suit and trilby, brown beaten suitcase at his feet. happy Christmas.

Scene One

An inner city back street boozer early evening. Nicotine stained ceilings, round carved wooden tables, old men enjoying the last of the days guinness as the days trade comes to an end.

A tray of pork chops love... This is all the fashion now,... go an’ ask them young ones over there... no it didn’t fall off the back of a lorry... 9 9 Scene Two

Exit from pub to side street. Uncle Charlie brylcreamed ginger hair, watery blue eyes and an open pored red nose. A huge black coat wrapped around him all the better for a bit of shoplifting as he heads home for tea, might even be carrying the tray of pork chops. And then he sings. A falsetto voice explodes from his lungs bouncing off parked cars, each lamp post his spotlight, his voice traveling unravelling as chip wrappers blow and people hurrying home hurry out. His voice rushes down streets slides into open windows his voice hits his front door long before he does. The streets are his stage, it gets him home—passersbys remark, laugh, locals just know.

Scene Three

Silent now he climbs the stairs to his flat puts the key in the front door... curtains close.

Anonymous, 24

A chilled evening in town after several cheeky lemonades we headed towards Leaf. Cutting along Benson Street and heading past the Casino a friend says ‘I know him, who is he? Look at his face’. Realising that it’s that guy who married Liza with a Z David Guest a friend approached and said Aren’t you David Guest’ He responds in a most serious tone My name is Hugo Humpdink. We highly commended him on the fake name only to wonder away trying to figure out what David/Hugo did and why he was in Liverpool.

Anonymous, 23

I started dancing in the Liverpool area when I was four years old. I trained in Ballet, Tap and Modern for 14 years until I completed my grades and had to make my way in the big wide world. I might have finished my lessons but dancing remains a big part of my life. If I feel sad I dance, if I feel happy I dance and if I have a couple of drinks, well, I believe I dance too! Sometimes this makes me popular, sometimes not so much. There was an occasion when I decided it was time to bring Pogoing back into fashion. Pogoing is a historical dance move, whereby you stand quite straight with arms to one side and jump up and down repetitively. You MUST remain in one spot and DO NOT travel. Being a skilled and trained professional I continued to Pogo for quite some time. Still, in hindsight I cannot see how my actions of innocently jumping in a corner for half an hour were the most suspicious of occurrences in the nightclub that evening. Even so, when I went outside to catch my breath the bouncers refused to let me back in. I was on my own and I wasn’t going anywhere until one of my friends came out so I was safe, so just stood there in protest. 10 Soon they realised that I actually WAS one of the most incredible Pogoers they had ever seen. I re-entered the club my stage and was free to begin my pogo performance without compliant. I celebrated my 22nd Birthday in Liverpool Concert Square. We couldn’t get into the rock music club that we wanted to and so settled for a popular music, dance and trance venue. my friends and I all have long hair including the boys and we decided to experiment with the juxtaposition of trance with head banging, the five of us head bangers soon became six, then seven, then fifteen! By the end there were at least twenty of us head banging and laughing and jumping. People we had never met all having fun and connecting through yes you guessed it DANCE in Liverpool! It just shows that persistence is key. EMBRACE YOUR IN- NER-SCOUSE-DANCER and the land of the Liverpudlians will be at peace!

Anonymous

I grew up in Aigburth and then moved to Belle Vale. It was normal then just to play football in the street, and we got shouted at loads by the neighbours—Get out of here! Stop playing football! We used to carry on playing and ended up breaking loads of the windows. But the lad I was friends with—I think his dad was a builder or a glazer—he used to go round replacing all the windows after we broke them.

Anonymous, 35

‘The summers were really hot when I was growing up, so we used to make ‘tar bombs’. The roads were so hot, they were baking the tar used to bubble and you’d take a lolly stick and scoop it up and press down on it until it popped.‘

Anonymous

‘Me dad’s friend took us to Sefton Park and were playin’ cowboys. I was up a tree—don’t ask me how I got up there, like—and I got stuck. I didn’t know what to do, but didn’t really have a choice, so I let go and fell into the long grass, and sliced my knee open on a massive piece of glass underneath. Well, they called an ambulance and—do you know Sefton Park—well, back then, they used to have a cafe by the bandstand and it was a Sunday and everyone was sitting out having a cuppa and the ambulance came roaring ‘round and parked itself right by the cafe. Everyone was staring, and I came out from out behind the tree like this —motions hobbling— and with us playing cowboys, I turned ‘round and said ‘I’ve been shot!.’

11 Anonymous, 61

‘When I was young, I spent a lot of time in the Children’s Hospital —I don’t think it’s there anymore. When I was four or five, we had a mangle you know, one of those early, old fashioned ones—and I said Eh, mum! and stuck my hand right down on the mangle. She never noticed and roller-ed right over my hand. Well I ended back in hossie then, didn’t I? I think I was an accident-prone kid, really.’

Anonymous, 39

‘I’ve lived in the same area all my life and the girls even went to the same school. I had the photies in the living room and a friend of the family came ‘round and said, Whatcha got your old school photo up for? and—me and our Rach, we look the spit of each other—and I says: Whatcha playin’ at? That’s our Rachel!’

Linus, 17

When I was 15 me and some friends were walking through the Black Woods trying to find the spot where we usually sat. We came across this huge clearing where loads of trees had been cut down and there was a big pit in the middle of the floor. We walked around a bit like ‘wow this is cool’ when a branch snapped somewhere and there was a man dressed entirely in black staring at us before he disappeared. We didn’t have much time to react to that before about 15 of them all dressed the same charged at us with dogs, one had a baseball bat, one had what could have been a knife or a sandwich wrapped in tin foil we didn’t stay around long enough to find out. We all split up and legged it, me and one of my friends running together before he like rugby tackled me so that we jumped left. so I was fifteen feet in the air because he’d thrown us off a railway bridge. We fell really badly and were trying to stay quiet and lie against the railway bridge. We heard footsteps behind us and saw toes above us. We looked at each other and had a kind of fight or flight moment, reached up and grabbed a leg each and pulled down one of our other friends. He screamed a lot, and we had our hands over his mouth until we made sure it was quiet again. I don’t know, other stuff happened that night but I don’t want to bore you with it, it was just a really weird night.

Felicity

My mother would be put in prison if this were to happen now. Every holiday, Easter, Christmas and in the summer, I would not go back to school straight away. I used to take 2-3 days off school and my mum used to write a note to school saying that ‘Felicity was sick’. I used to spend the days with my mum because she enjoyed my company and I enjoyed hers. By the time I was 6, I already knew Dickens, Mozart and Beethoven because my parents used to listen to them at home and they would also read to me. 12 When I stayed off school, my mum and I would dress up smartly and walk down Bold Street which was called the Bond Street of the North. I would have never walked down the street in my school uniform. You would only see men in pin stripe suits and bowler hat and when the weather was cold, women in fur coats. There were very expensive shops and very expensive coffee shops. Jaeger was on Bold Street in those days. Cooper’s was on the corner of Church Street where Select is now. You could smell the lovely scent of coffee roasting there. They sold food from all around the world and although I’m a vegetarian now, it was amazing to see slabs of meat hanging off the ceiling. my granddad (Matthew Gornall) designed the type-font for Reece’s logo, which was on Parker Street. I remember when I was 16 years old, I went to camp outside of the Empire theatre to get tickets and ended up not enjoying the concert because of the screaming girls. Then, when I was 18, I went to see them again at the Grafton. I went to see the Beatles. I was only a few metres away from Paul McCartney. This person was coming home. My friend couldn’t come with me so I went to see him on my own. So I walked from Speke to Hunt’s Cross, it’s about 30 to 45 minutes to Halewood. When I got to his house, there were already two girls there. They said that he wasn’t there yet and his mum came out to saying ‘sorry girls, he’s not home yet’. We waited for a bit and then there he was. My eyes were falling out from seeing the most gorgeous man that is George Harrison. He has just driven up from London and asked us to wait for a bit while he takes his bags inside. After that, he came out and we chatted to him for 30 minutes. He gave me a cigarette and I kept it in my bedroom for a very long time.

Nicola, 27

Every weekend, I would go to the Walker and the with my dad and sister. I remember looking at the painting of William Roscoe and thought that he looks exactly like me granddad. I don’t have the Roscoe nose though! We used to go to the Thing shop on Broadway. You could get anything there! There are no more of those traditional shops today. I suppose we’re all guilty of it because of Tesco and that. I used to go into town with me grandma and remember getting dead excited on the bus to see the Lion (in front of St George’s Hall) cause you know you’re in town. Me grandma used to use the George Henry Lee’s bag although she shopped at TJ Hughes. The showcase in Norris Green is still open even though it’s in a similar state to the Futurist. I recently went back there as a supply teacher on a school trip. I went to the old Quiggins with my sister when I was about 14 because I was apparently a Goth. It was just really clique-ky when I went there—I thought it was going to be friendly but we just sat around and no one really talked to us. The shops were more interesting 13 back then but nowadays it’s things that you can get on the internet. 14 15 You’re filming sarah (1 camera) plus the two buses going past (4 cctv cameras each = 8) plus the two by the junction and the on behind you in quiggins and the two by the dump to your left and the over-head one by the off-licence, so you're definitely being filmed on at least 14 cameras here not including mine, or the ones in all the other shops I don’t know about. 17 people feel criminalized just for ‘hanging out’ with their mates.

Is there something we can do about this?

We need a greater awareness of what the privatization of public space actually means. When Grosvenor released their plans for Liverpool One all that was heard was the PR machine going into overdrive with claims of how fantastic the development would be for the city. But the reality of such regeneration schemes is that they create Members of the an entirely different city environment and one which routinely targets young people by Collective talk to making them feel unwelcome in such places. writer and journalist Why do you think there aren’t more public places where we can feel Anna Minton. welcome/comfortable?

Can you tell us about the research you have This trend towards the privatization of carried out in Liverpool? public space in new developments is also mirrored by the behavior of local I first became interested in Liverpool as a authorities which have become far more focus for my research when I heard about draconian in their policies towards young Grosvenor’s plans for Liverpool One and the people and public space in general. private, high security nature Another factor is the growth of Business of the development planned. Improvement Districts— private companies which are supported by local authorities to Having spent time here what aspects of the run parts of the city with funding city do you like? from local businesses.

A great many. It’s a great city with lots to Are the people who design cities fearful of do and friendly people. I always enjoyed my young people? trips to Liverpool even though quite often I was meeting people who were engaged in sometimes the targeting of young people is very difficult struggles. an unintended consequence of private space. I don’t think these trends are driven so much Can you briefly explain how the privitisation by fear of young people as much as lack of and security of former public spaces interest in young people as they are not impacts upon young people? wealthy consumers with money to spend. This approach to the city is based far higher levels of control over spaces on creating open air shopping malls—so target young people, restricting their called ‘malls without walls’ —where people behaviours. For example, activities such as are encouraged to shop as much as possible. skateboarding, rollerblading and taking Young people tend not to be part of that. photographs are sometimes banned and groups of young people congregating are Do you think young people are seen as a routinely broken up and moved on. threat? If so why? young people often complain that they are also stopped and searched yes, I do think young people are seen as a without due cause. threat. This is part of a far bigger conversation about how we treat young Why is this a problem? people in this country, compared to oth- er countries in continental Europe which As above. It’s a problem because young have far better support structures for young

18 people. By contrast, in the UK youth services have been savagely cut.

You’ve written about the demise of trust but who is this between? The state and the public? Or individual members of the public? How do you think the hierarchy of our society affects out feeling of trust?

There is definitely a massive lack of trust between the state and the public but the argument I make in Ground Control is that it is the growing visible inequalities between people which are driving increasing lack of What do you expect to happen with public trust between individuals. space in the UK over the next ten years?

You have commented about unmanned because of the financial crisis large drones flying over Liverpool’s residential privatized developments like Liverpool One areas (is this so??!) and if so what have we have all but come to a halt outside of not heard of this before? What can be done London. So for that reason I think the trend about this? How can we protest about this? is slowing down while at the same time we have a chance to open up the debate surrounding the privatization of public space and to start to question this way of doing things.

What would you hope to happen?

In London, the Mayor has published a Manifesto for Public Space where he has said that he does not want new developments to privatize streets and public places. I would like this policy to As far as I am aware drones fly over some of receive more air time to ensure that it is the outlying, more deprived parts of implemented and I hope that with more Liverpool. They certainly did back in 2010 debate about the consequences of private although I haven’t followed the situation space the principles of the Manifesto might since then. The problem is that there is not be taken on by other local authorities much publicity around this and it can be around the country. difficult to find out about it but the police should give out the information through their press office.

In your opinion are things getting better or worse for young people?

I think the situation for young people is getting worse because of the cuts to youth services, the EMA and the growing number of young people not in education or training (NEETS). But I am glad that the anti social behavior agenda is not being pursued as vigorously by this government as it was by Anna Minton is a writer and journalist. the last government. That was a fast track to She is author of Ground Control: Fear criminalizing young people but fortunately and Happiness in the 21st Century City published by Penguin Books. the focus on this policy seems to have lessened to some extent.

19 Where is the most important of staff at Tate and visit Ruth Ewan place in the city to you? Why? the Walker every single month? interview The docks because of the history and I like looking Have you ever had an with Tate at the water. encounter with an authority figure in the city? Collective Liverpool One is where I regularly go. It defines I was once stopped by Liverpool Liverpool for me: eat, Ness Gardens on the drink, shop and close to Wirral by police. I was Tate and culture. walking home on my tod at 3am. They asked me There’s this feeling of being at where I was off to and I home and relaxed whenever I cheekily asked for a lift see the River Mersey. and they drove me home :p

Have you ever felt scared or What annoys you about the city? intimidated in the city? Where? The stereotype people have I’ve never really felt about it; everyone’s a chav scared or intimidated wearing trackies with a horrible in the city but if I had accents, daft things like that. the choice, I wouldn’t exactly hang around the Bouts of irrational anger Baltic Triangle by myself and intimidation at night. tactics, due to people being guarded or trying Yes. Kensington, Norris Green to seem ‘hard’

Apart from at home, where do People are too self- you feel at home? conscious about their image rather than the . I ‘grew work that they up’ there because I (need to) do. spent a lot of my time learning and testing my What would make the city better knowledge/abilities at for young people? the gallery and feel comfortable to do what A breakdown in the I want there. misconceptions about young people. Sefton Park …because I know my way around the More events led by young park from the back of my people to cater hand! directly to them

City Centre, Albert Dock Cheaper bus fares!  Have you ever been in a public The older generation place and felt like someone has should share their skills made an assumption or passed with the younger ones and judgment on you? to learn from what we have to share so that in Yes at Tate. Suspicion the very near future, we when entering the can work hand-in-hand gallery space like I with each other—rather shouldn’t be there. The than competing for work staff at Tate and The like we do now as well as Walker sometimes think to avoid one generation that I’m a tourist when suppressing the other. 20

I’m already a member Do you ever feel like your choices might have about young people? n order to make our in life are restricted? Can you think of any solutions to presence and ideas felt countering prejudice or suspicion within the city. Showing Yes, by area’s economy, in your city? up to events and talks finances. in the city and if we are I think young people need being turned away asking Sometimes by not knowing to make themselves seen why? Being productive in what I want there’s an and heard more within the city and showing that attitude of ‘you have to the city and have the it’s a place we live in and know what you want to get confidence to speak up care about, taking action it’ I think that can be and voice their opinions. and following up on what detrimental to a lot of I also think we need to we are saying. young people who pose more questions to aren’t given support— those who are higher up Be procative—don’t let especially those with in the city (council mem- organisations decide mental health difficulties. bers or even the heads of what Young People want. There are not enough organisations) and ask Young People should get opportunities in the local them why they, at times, involved and ask not to area. And I am not well make it more difficult be treated as a separate connected. for young people to enter entity. To take action and these establishments. make sure their opinions What makes you angry The fact that there isn’t and ideas are voiced and about society? an young council or taken into consideration service set up for those within organisations and Nothing. If you’re angry who are interested in the structure of them. with society, you might further developing their To speak up and com- as well be angry with city and pushing ideas municate. To empathise / yourself. forward (without being understand—each other’s backed by a political situation. To educate this I hope for more equal party, solely to in schools. opportunities to be represent their area). More interaction, available. We elect older, and more understanding some say wiser, people to Challenge the media Pretentious people and run the local council and Provide more ignorance and unnecessary apparently they are open opportunities for competitions. to our opinions and ideas teenagers to show what but why not have a group they can do Eg. music There are a number of from each area of the related, art related, etc.) cliques, which annoys city that can feedback me. It creates from a younger person’s Doing creative art projects separations perspective? such as this one, working with and rivalries. The fact that most artists, giving opportunities for young people within the young people's images, words Prejudice! People’s city are engaged with the and ideas to be seen, heard language towards issues within Liverpool and read. gender and sexuality and have a daily As an art collective at a in particular harms so experience to these gallery, we should take all many people. Also issues means they are opportunities to raise aware- attitudes around socially aware of ness among other young people mental health. what is happening. about issues that directly affect The amount of times I think a platform our lives, like the privatisation I’ve called people up for needs to be devised so of public spaces, and then mak- using ‘gay’ as an insult, they can feel confident in ing art works about it. Or even and they don’t even relaying these issues and hosting a city-wide festival to know they’re doing it! also the solutions that raise awareness! I hate that. they have. Create opportunities for Not waiting for this conversations about how to What actions do you think platform to be created change things. Make art from young people could take to alter and producing it our perspectives. misguided perceptions people (or ourselves might have to organisations like art galleries) be the step we take 21 22 ‘A Reflection’

An elderly man sits on a faded bus seat nonchalantly rubbing his left hand, the space next to him unoccupied. A young goth couple try to distract their daughter from her increasing restlessness. She laughs loudly, her pink-bowed bunches twitching as her father pulls out his pierced tongue and grasps her frilly-socked toes one by one. A guy tries to block out the rest of the world with dance music, looking far too morbid for the elation and movement that often accompanies the genre. The sudden silence created by changing tracks is permeated by an aptly-timed chorus of Abba’s ‘Dancing Queen’; courtesy of a woman sitting on the other side of the aisle. The man next to her suppresses a chuckle as she begins to mouth the words, little sounds escaping her throat involuntarily at the end of lines.

78 23 ‘A Reflection’ ‘A Reflection’

They are travelling companions on a journey to the city of possibility. They lose people along the way, though some remain. At the penultimate stop, those across the aisle are replaced by two young children. In a bid for independence, they sit separately from their mother; who stays a few rows back, eyes glued to her mobile phone. As they enter the tunnel, the girl holds her breath while her brother counts the seconds. She stares out of the window intently, her eyes searching. Only when the darkness gives way to the mural of the Liverpool skyline at the tunnel’s exit – closely followed by daylight – does the child exhale. To no-one in particular, she whispers: “No trolls…” The oldest passenger is the last to disembark. The others probably view this as an act of gallantry, but he is simply in no hurry to get anywhere. He wants to hold on to the feeling of closeness that experiencing this journey has given him; the connection. The bus driver begins to drum his fingers on the console, craving a break and the impending nicotine, before asking the man to leave. His feet connect awkwardly with the pavement; he is not as steady as he once was. His steps feel heavy, forced, but he knows the destination and finds their usual spot with no trouble, relieved to find it unoccupied. Sitting beneath representations of Justice and Truth, he surveys his surroundings. As one of the most central green spaces in the city, St John’s Gardens is always well used. In addition, today is a

79 24 2lb diced beef 8 potatoes, peeled 4 large carrots, and diced peeled and sliced Water 1 turnip or swede, 2 or 3 beef stock cubes peeled and diced Serves 4 ish

The first known use of the term ‘lobscouse‘ is dated 1706, according to Webster’s dictionary. Smollet refers to ‘lob’s course‘ in 1750. The roots of the word are unknown, but there are at least three competing theories. It has been suggested that the dish is of Baltic origin, and labs kauss in Latvian and labas kaušas in Lithuanian both mean “good ladleful”. A similar dish, lapskaus, is traditional in Norway. Another theory posits a Low German origin from lappen (dewlap) and kaus (bowl). An English origin has also been proposed: through “lout’s course”, via “lob’s course” to “lobscouse”.

19th century sailors made lobscouse by boiling salted meat, onions and pepper, with ship’s biscuit used to thicken the dish. Present-day English scouse ‘A Reflection’ resembles the Norwegian lapskaus. Scouse is a stew similar to hotpot, usually of mutton, lamb Saturday, so one can experience a snapshot of the lives (often neck) or beef with vegetables, typically of its diverse populous. potatoes, carrots and onions. From his perch below the Gladstone monument, he can view all the area has to offer, with Scouse is strongly associated with Liverpool, where traffic just visible through the slight gaps in the it remains popular and is a staple of local pub and encompassing walls. It is an almost unbreachable cafe menus, although recipes vary greatly. “Scouse” fortress of solitude from life’s pressures, an oasis of has become part of a genre of slang terms which calm in a metropolitan storm. Beyond lie the refer to people by stereotypes of their dietary habits. majestic St George’s Hall, the city’s museums and galleries with their imposing monuments and architecture. The knowledge of this is enough, an anchor in ever-changing world. He unwraps his sandwich, the foil crackling slightly as he carefully releases the folds. Disappointment washes over him as he takes his first bite. The butter is spread too thinly, mustard drips onto his fingers and the bread has begun to harden. It wasn’t the same. He had been a fool to think it would be. Nothing would ever One member of Tate Collective be the same again. Liverpool moved to London to start Couples with young families coexist with university in Autumn 2013. He cooked teens on skateboards. Girlfriends giggle into their a meal of scouse for his new flatmates. Another member of the Collective visited hands, embarrassed, just short of knocking the him that evening. Whilst he prepared the salads from their knees. In a sparse corner, a woman food she made a sketch of him cooking. stares at the wall, only breaking her trance to wipe a solitary tear from her cheek. Some people rush right through the scene, missing it all. It is a commonly-used shortcut to other, possibly more desirable parts of the city or even other places, given its proximity to the station.

80 25 He, on the other hand, experiences it fully; for these who haven’t the time. He sees everyone. They used to sit here, in the shadow of the Gladstone monument, doling out their own version of Truth and Justice; envisioning the lives of the people they saw whilst partaking in ham and mustard sandwiches. Sometimes they didn’t have to imagine; so often had their subjects visited the gardens. One such woman in her early twenties smiles knowingly when she spots him in his habitual place. As the afternoon wears on, many tire of their pursuits and attempts at solitude, falling away so gradually that it takes him a while to note the loss of their presence. A gang of teens has since reclaimed Reusing the supports from the previous exhibition a Collective member worked with Tate Liverpool technicians to make a new the space, using it as somewhere to entertain the support for this publication. opposite sex and demonstrate their prowess in bike The shelf was made after glancing at the work of Walter Gropius stunts. A bench previously occupied by a picnick- online. As well as it’s more pragmatic use, the purpose of this ing family is now strewn with handbags of various exercise was for the Collective to visit spaces in the gallery usually out of bounds. shapes, sizes and colours. Tate Collective Liverpool brings to mind the idea of The old man gets up to leave, takes a few The Apprentice—more Fantasia than Sir Alan. The potential paces and then feels someone grasp his shoulder. for learning and making things and things happen is Panic rises within him. Though the touch is gentle, pretty astounding. In the workshop at Tate Liverpool there are a number of boxes his whole body tenses at the thought of having been similar to the LC 14 01 Tabouret Cabanon stool used as discovered. An outsider. The hand is hastily removed modular supports and for the occasional rest. In Corbusier’s and he turns to find a worried-looking girl staring version there are handles on all sides. The boxes shown here only at him. She holds out his abandoned have a handle on the side, but one of the technicians has skillfully made a trompe l’oil handle to catch out rookies in the workshop. sandwich imploringly. Even better than a tin of rainbow paint and a glass hammer. “I didn’t want you to forget…” she said, her voice trailing off. “I did” he said, stretching out

79 27 26 The Public Utopia?

Tate Liverpool One is an architectural proposal for a public space where Tate Liverpool and Liverpool One shopping centre are combined into one. The venue provides young people shelter from the rain and free access to toilets and wifi. Tate Liverpool One is a cultural venue that mimics its commercial predecessor by presenting itself as an attractive social space. Through the merging of the two destinations, young people would have a space where we can comfortably hang out with our friends and engage in self- improvement activities in a safe, welcoming and cool venue. Chavasse Park is extended onto the rooftop of Tate, allowing more space for outdoor activities such as casual lounging to concerts and even creating collaborative artworks. The Tate section of the building retains it’s current structure. However, entrance into the building ‘A Reflection’ from the rooftop garden is through a wide spiral stairway without any steps with his left arm, the word ‘MILK’ almost imper- (for accessibility and because steps ceiveable on the back of his hand, “but thank you for are too tiring). reminding me.” With that, he wanders out into the While going down the stairway to night to make his journey back home. get to the toilet in the basement, young people walk through the gallery; a casual wander such as this could trigger Michelle Stubbs interest in specific works of art which can create further developments for the young people. The current coffee shop underneath the stairs is transformed into a cinema offering discounted seats to those under 25. In alternate sessions, the space would be used for indoor concerts and catwalk events. Due to the accommodating nature of Tate Liverpool One, the space would have no trouble in attracting a range of audiences with diverse interests.

Moquette derived from the French word for carpet - is a type of woven pile fabric in which cut or uncut threads form a short dense cut or loop pile. As well as giving it a distinctive velvet like feel, the pile construction is particularly durable, and ideally suited to applications such as public transport. Its upright fibres form a flexible, non-rigid surface, which are constantly displaced to give durability and anti-stain benefits.

79 80 27 28 29 30 You Feel Like a Threat, Don’t You? is a project led by Tate Collective Liverpool, who worked with artist Ruth Ewan and design collective Åbäke. It is supported and managed by Abigail Christenson, Curator for Young People, Tate Liverpool, as part of the exhibition Art Turning Left: How Values Changed Making.

Tate Collective Liverpool are a group of young people aged 15-25 and include: You Feel Like a Threat, Don’t You? Robyn Alexander is a part of Circuit, led by Tate and grace Collins funded by the Paul Hamlyn Foundation. steven Hyland sumuyya Khader Thanks to: Nzimah Akpan, Sivan Amar, ollie Longhurst Barry Bentley, Cathriona Bourke, Ruth Morrissey Christopher Bryan, Marina sufea Mohamad Noor Castledine, Eleanor Clayton, michelle Stubbs Alison Cornmell, Juan Cruz, Christian Watts Jessica Fairclough, Lindsey Fryer, Antony Hudek, Patrick Lacey, Ian Malone, Francesco Manacorda, Mark Miller, Anna Minton, Ian Mitchell, Keith Moore, Laura Nash, Tracy O’Connell, Jen Olhson, Jemima Pyne, Deborah Riding, Linus Rowe, Ken Simons, Roger Sinek, Gary Sollars, Mike Stout, Erika Wall, Helen Watters, Lynn Wray, all Visitor Assistants, Grizedale Arts, News From Nowhere Bookshop, The Office of Useful Arts, all interviewees and the family and friends of Tate Collective members, and those who wish to remain anonymous.

Typeset in: Akzidenz Printed by Tate Collective All work unless otherwise Founders and Tate Spiky, a Liverpool with assistance stated is licensed under a one-day pilot typeface by Tate from Liverpool John Moores Creative Commons Attribution Collective Liverpool. Still to University, School of Art and Non Commercial-No Derivs be developed. Other Tate Design with assistance from 3.0 Unported License Collective members are invited Lottie Brzozowski, Rachel to improve and pass it on. Davey, Ian Mitchell.

31 We focus on getting young people into the gallery, but forget how to make them stay.

We try to change young people’s attitudes to fit the gallery, but we don’t change the gallery to fit the young people.

We try to make people feel open and free in the name of contemporary art, but forget that rules and signage can reassure people they’re acting within the rules.

The gallery staff are a resource to be used, but many young people don’t utilise this unless under the obligation of school projects.

We teach art in terms of the historical, sociological, and political, but forget to ask people to relate to the visual and the personal.

Don’t tell them, ask them.