15 September – 25 November The UK Biennial of Contemporary Art

Liverpool Biennial 2012

Ten weeks of free exhibitions, talks, films, tours and events

1 Pall Mall St Moss

Churchill Way Old Hall St Hatton Garden Trueman St Norton St 22 13 26

Address List 14 IslingtonEverton Park Daulby St 14Daulby Cheapside Brook St Churchill Way 19 Heyworth Street Entrance 18 Rd Bixteth St Vernon St Anson St Biennial 1 The Cunard WilliamBuilding Brown St L5 4LA Edmund St Water St L3 1ES London Rd Princes Parade New Quay Moorfields Crosshall St St. John’s The UK Biennial of Contemporary Art Tithebarn St Old 15 St. George’s Hall Seymour St Pembroke Rd HaymarketSt. John’sGardens Lane

St. Vincent St 18 Sir Thomas St 2 the Bluecoat St. LordGeorge’s Nelson St Place L1 1JJ Exchange St Victoria St 15 6 School Lane L1 3BX Great Newton St

Stanley St St. Georges Place Brownlow St Brownlow 16 Dale St 16 Ashton St ChapelRumford St St North John St Queen Square 2012 presents work Covent Garden 3 28–32 Wood Street L2 3YL L1 4AQ 24 Castle St Victoria St WhitechapelWillamson Copperas Hill by 242 artists in 27 locations. The festival Square Renshaw17 St Fenwick St Richmond St St Nicholas Pl 4 The Tea Factory L38 1DG Drury Lane 20 Cook St Elliot St takes place in galleries, museums and sites Water St chapel 79 Wood Street L1 4DQ The Goree 18 , William White Brownlow Hill Canada Boulevard Brunswick St Williamson St across the city and includes a dynamic Tarleton St Lord St Lord St 5Church FACT St Brown Street L3 8EN Duckingfield St 1 Basnett St Parker St South John St 88 Wood Street L1 4DQ Brownlow Hill Clarence St Ranelagh St 27 programme of talks, events, screenings School Lane 19 James StDerby Square Mount Pleasant 11b6 Hotel Indigo 2 Wood St Bold St Mount Pleasant and family activities. 7 Strand College Lane10 Chapel Street L3 9AG L3 Renshaw8EL St Hanover St 3 12 17 7 OpenGradwell Eye Gallery 20 Victoria Gallery & Fleet St Bold St Oxford St 11a Seel St

Paradise Street Mann Island L3 1BP Museum, Ashton Street Canning Thomas Steers Way Hanover St Dock St 23

Wolstenholme 4 University of LiverpoolRoscoe St St Mulberry Rodney St 28 Square 29 Canning Place 8 LiverpoolDuke St John 5 L3 5TR Parr St Seel St Hope St Moores University Slater St River Argyle St Hardman St Mersey Copperas Hill Building 21 Parr St

York St Salthouse Quay L3 1AA Duke St St James Mount30 L1 7AZ Myrtle St Back Colquitt St Salthouse Henry St 9 Myrtle St The Unexpected Guest p.3 Dock Liver St 10 Colquitt St Hope Place Berry St 9 The Monro 22 Mitchell’s BakeryRoscoe St Henry St Rodney St Sky Arts Ignition: Doug Aitken – The Source p.14 Albert Dock 92 Duke Street L1 5AG 199 OakfieldKnight Road St L4 0UF Pilgrim St Park LaneUpper Frederick St Falkner St Hope St

Duke St Mount St St Bedford Bloomberg New Contemporaries p.15 Gower St 10 23 Kazimier Blackburne Place Wapping City States p.17 Albert Dock L3 4BBKent St Cornwallis Wolstenhome St SquareUpper Duke St L1 4JJ Anthony McCall: Column p.19 Canning St 11a Catharine St John Moores Painting Prize p.20 Thomas Steers Way 24 Lime Street Station 21 Events Programme p.21 L1 8LW St James St Lime Street L1 1JD Nelson St Bedford St

Hope St 11b LiverpoolBlundell StONE 25 Camp andGreat George St Furnace Huskisson St Peter’s Lane L1Jamaica 3DE St 67 Greenland Street L1 0BY Kings Parade 12 METAL Chaloner St Edge Hill Railway Station 26 The James Monro Princes Rd Upper Parliament St Tunnel Road L7 6ND 69 Tithebarn Street L2 2EN

13 The Royal Standard 27 Liverpool John Moores Princes Rd 25 St James Upper Stanhope St Windsor St Queens Unit 3, Vauxhall Parliament University St Art & Design Dock Business Centre Grafton St Academy, 2 Duckinfield www.biennial.com 131 Vauxhall Road L3 6BN Street L3 5RDPlace Stanhope St 2 1 Pall Mall St Moss

Churchill Way Old Hall St Hatton Garden Trueman St Norton St 22 13 26

Islington Daulby St 14Daulby Cheapside Brook St Churchill Way 19 18 London Rd Bixteth St Vernon St William Brown St Anson St Liverpool Biennial Edmund St London Rd

Princes Parade New Quay Moorfields Crosshall St St. John’s The UK Biennial of Contemporary Art Tithebarn St Old Seymour St Pembroke Rd HaymarketSt. John’sGardens Lane

St. Vincent St 18 Sir Thomas St Lord Nelson St Exchange St Victoria St 15 6 Great Newton St

Stanley St St. Georges Place Brownlow St Brownlow 16 Dale St Ashton St ChapelRumford St St North John St Queen Square Liverpool Biennial 2012 presents work Covent Garden 24 Castle St Victoria St WhitechapelWillamson Copperas Hill by 242 artists in 27 locations. The festival Square Renshaw St Fenwick St Richmond St St Nicholas Pl 8 Drury Lane 20 Cook St Elliot St takes place in galleries, museums and sites Water St chapel The Goree

White Brownlow Hill Canada Boulevard Brunswick St Williamson St across the city and includes a dynamic Tarleton St Lord St Lord St Church St Duckingfield St 1 Basnett St Parker St

South John St Brownlow Hill Clarence St Ranelagh St 27 programme of talks, events, screenings School Lane James StDerby Square Mount Pleasant 11b 2 Wood St Bold St Mount Pleasant and family activities. 7 Strand College Lane Renshaw St Mann Island Hanover St 3 12 17 Gradwell Fleet St Bold St Oxford St 11a Seel St

Paradise Street Canning Thomas Steers Way Hanover St Dock St 23

Wolstenholme 4 Roscoe St St Mulberry Rodney St 28 Square 29 Canning Place Duke St 5 Parr St Seel St Hope St Slater St River Argyle St Hardman St Mersey Parr St

York St Salthouse Quay Duke St 30 Myrtle St Back Colquitt St Salthouse Henry St 9 Myrtle St The Unexpected Guest p.3 Dock Liver St 10 Colquitt St Hope Place

Berry St Roscoe St Henry St Rodney St Sky Arts Ignition: Doug Aitken – The Source p.14 Albert Dock Knight St Pilgrim St Park LaneUpper Frederick St Falkner St Hope St

Duke St Mount St St Bedford Bloomberg New Contemporaries p.15 Key Gower St Blackburne Place Wapping City States p.17 Kent St Cornwallis St 1 The 15 St. George’s Hall Upper Duke St 2 the Bluecoat 16 Exchange Flags Anthony McCall: Column p.19 Canning St 3 28–32 Wood Street 17 Museum of Liverpool Catharine St John Moores Painting Prize p.20 4 The Tea Factory 18 World Museum 5 FACT 19 Walker Art Gallery 21 Events Programme p.21 St James St 6 Hotel Indigo 20 Victoria Gallery & Museum Nelson St Bedford St 7 Open Eye Gallery 21 Liverpool Cathedral

8 Liverpool John Moores 22 Mitchell’s Bakery Hope St Blundell St Great George St Huskisson St University, Copperas 23 Kazimier Jamaica St Hill Building 24 Lime Street Station 9 The Monro 25 Camp and Furnace Kings Parade 10 Tate Liverpool 26 The James Monro Chaloner St 11a Liverpool ONE: 27 Liverpool John Moores Princes Rd Thomas Steers Way University, Art and Upper Parliament St 11b Liverpool ONE: Peter’s Lane Design Academy 12 METAL (Trains from 28 East Float, Wirral Waters Princes Rd Lime Street Station) (Viewing point for Column) 25 St James Upper Stanhope St Windsor St 13 The Royal Standard 29 Wolstenholme Projects Queens Parliament St 14 Everton Park (Bus No.17 30 Static Gallery Dock Grafton St from Queen Square) www.biennial.com Place Stanhope St 2 3 3 The Unexpected 1 The Cunard Building Guest Sylvie Blocher The Series: Speeches, 2012 The Unexpected Guest explores notions Blocher’s project is to intervene with of hospitality. Leading and emerging significant political speeches and utopian artists have been commissioned to make manifestos, each of which promised permanent and temporary public artworks, happiness or emancipation but failed as well as long-term community-based to deliver. Each is re-told in a way that projects. Works by over 60 international acknowledges changed contexts – artists unfold across the city in its major bringing new voices, new forms of energy galleries and a range of sites including and a sense of catharsis to the texts. The Cunard Building, the LJMU Copperas Hill Building, The Monro, Liverpool ONE, Andrea Bowers Everton Park and . City of Sanctuary, 2012 Hospitality is the welcome we extend to Artist and activist Andrea Bowers strangers, an attitude and a code of conduct amplifies the launch of Liverpool as a fundamental to civilisation, as well as a City of Sanctuary for asylum seekers and metaphor whose conditions and energy refugees. Bowers and STAR (Student inspires artists. In a globalising world, Action for Refugees) have collaborated increasing mobility and interdependence with designer Sam Wiehl to create a are changing the rules of hospitality. visual identity for the campaign. There are different ‘cultures of hospitality’, often co-existent in the same place. Mona Hatoum Our awareness of such complexity and A selection of recent works, some of migration between nations and cultures which have never been seen in the UK, makes clear distinctions between host are presented in The Cunard Building. and guest increasingly difficult. In these works, the viewer will be confronted by unusual mappings of the All works are commissioned by Liverpool Biennial world and ideas of cultural arrogance unless otherwise stated and political ignorance.

Jeanne van Heeswijk, Britt Jurgensen, Opposite: Photo of The Cunard Building by Edward Park Debbie Morgan, Graham Hicks and the residents of Anfield The Anfield Home Tour, 2012 Saturdays 11.30am Visitors are invited to join a heritage tour to Anfield. The tour presents the impact that regeneration has had, and continues to have, on the lives of people in the neighbourhood. An intervention and audio work can be found in The People’s Republic Gallery at the Museum of Liverpool, amongst the exhibits on labour history. Bus departs from The Cunard Building. Places limited. Booking essential: 0151 702 5234

4 3 Nadia Kaabi-Linke that give young people, politicians and that document the way in which the part by Liverpool Biennial with additional production NO, 2012 community leaders the chance to speak political concerns of the island have assistance from The Power Plant, Toronto; Parkverbot, 2010 openly about the subject. Please visit shaped the narrative of Greek-Cypriot The Canada Council for the Arts; Prádelna, Prague; Kaabi-Linke’s newly-commissioned project www.threeweeksinjanuary.org historiography and culture. and The Department of Germanic and Slavic Studies, presents a dialogue in which a crowd Originally commissioned by LACE (Los Angeles Courtesy of the artist and Rodeo, Istanbul University of Waterloo opposes an individual voice of authority. Contemporary Exhibitions) for the Getty Pacific The work focuses on the visa process Standard Time Performance Festival Pamela Rosenkranz that many endure in order to enter the Bow Human, 2012 2 the Bluecoat UK. Kaabi-Linke draws a parallel between Runo Lagomarsino Rosenkranz manipulates objects and these contemporary regulations and the An Offensive Object in the Least images of contemporary culture, stretching John Akomfrah Holy Inquisition, in which brutal judiciary Offensive Way, 2012 and distorting them to create new, The Unfinished Conversation, 2012 procedures presumed a guilty verdict The starting point for Lagomarsino’s new unstable realities. In Bow Human, figures John Akomfrah’s, The Unfinished without a fair hearing. Co-produced by Liverpool work was an exchange between the artist are covered by emergency blankets. Conversation, examines the nature Biennial with the Kamel Lazaar Foundation and a neighbour in São Paulo who had Courtesy of the artist and Karma International, Zurich of the visual as triggered across the a statue of a macaw decorating her front and Miguel Abreu Gallery, New York individual’s memory landscape, with Jirí Kovanda yard. This sculpture has been shipped particular reference to identity and race. Kissing Through Glass, 2007 across the Atlantic to ‘re-encounter’ Mikhael Subotzky and Patrick Waterhouse In it academic Stuart Hall’s memories I Love You, 2008 (at Liverpool Lime Street Station) a similar macaw depicted in a poster Ponte, 2008–11 and personal archives are extracted and Kovanda presents two works: a declaration from the early 20th century advertising The vast, cylindrical Ponte building, relocated in an imagined and different of love that unfold through different a voyage to Brazil, which the artist found now a symbol for social and economic time, reflecting the questionable nature media and across different sites, offering in the Maritime Museum. downturn, has dominated the of memory itself. This multi-layered three- psychological comfort and emotional Johannesburg skyline since the 1970s. screen installation investigates the theory shelter to the viewer, unconditionally. Ahmet Ög˘üt Subotzky and Waterhouse became that identity is not an essence or being Kissing Through Glass was originally conceived Let it be known to all persons here fascinated by the fictions and myths but instead a becoming, where individual for Tate Modern. gathered, 2012 projected onto the structure, including subjectivities are formed in both real and Ög˘üt’s film documents a journey tales of prostitution rings and frequent fictive spaces. An Autograph ABP Commission. undertaken by a horse rider, dressed as a suicides that mark the failure of its Executive Producer Mark Sealy, Director of Autograph postman. The postman rode from Liverpool utopian intentions. ABP. Produced by Lina Gopaul and David Lawson, to , and in the style of a Royal Courtesy of the artists and Goodman Gallery Smoking Dogs Films Production, in collaboration with Address, he delivered invitations to attend Professor Stuart Hall. Project funded by Grants for Liverpool Biennial. Superflex The Arts, Arts Council , and supported by Liverpool to Let, 2012 the Bluecoat, New Art Exchange, Nottingham and the Trevor Paglen The artists were struck by the abundance W.E.B.Du Bois Institute, Harvard University, Boston. Prototype for a Nonfunctional Satellite of empty office and commercial spaces With kind support from NAXOS Books, The Open (Design 1, Build 1: ‘The Kite’), 2012 in Liverpool’s financial district. They University and BBC Paglen’s new work is a functionless painstakingly re-staged ‘To Let’ signage satellite. Constructed from materials that as banners within The Cunard Building. Dora Garcia Jirí Kovanda, Kissing Through Glass, 2007 Tate Modern, Courtesy the artist and gb agency, Paris maximise brightness and minimise weight, Outside!, 2012 his sculpture draws upon his research Althea Thauberger Outside! allows Liverpool residents to Suzanne Lacy into the colonisation of outer space by Marat / Sade, Bohnice, 2012 narrate their own story of the City and Storying Rape, 2012 governmental bodies whose own satellites Filmed in the iconic Bohnice Psychiatric its undercurrents through a street TV Three Weeks in January, 2012 have a hidden or untold meaning. Hospital in Prague, which resembles the project. It features a live talk show element Storying Rape documents a conversation setting of the original 1963 Peter Weiss play creating a forum for public debate through focusing on how the narrative of rape is Christodoulos Panayiotou Marat / Sade, Thauberger’s staging blurs the the recovery of experimental theatrical presented in society and how re-framing To create this series of archive ‘fourth wall’ between actor and audience. and broadcast forms. In collaboration this narrative might improve public photographs, the artist has researched Historical references are re-contextualised: with Toxteth TV, Peter Aers and the Bluecoat / understanding. During the Biennial, Lacy the archives of the press and government challenging received ideas of control, Commissioned in collaboration with the Bluecoat will also initiate a series of discussions in Cyprus. Panayitou has selected images democracy and ‘normality’. Commissioned in www.newsfromoutside.co.uk

4 5 Dan Graham 4 The Tea Factory Pedro Reyes 7 Open Eye Gallery 2-Way Mirror Cylinder Bisected By Melodrama and Other Games, 2012 Perforated Stainless Steel, 2011–12 Sabelo Mlangeni This work incorporates a set of newly Mark Morrisroe Graham’s pavilion plays with the My Storie, 2012 Men Only, 2008 – 09 imagined games for visitors to play Morrisroe, an instrumental figure in the viewers’ perception of inner and outer Mlangeni is interested in the political with. Trained as an architect, Reyes’s 1970s’ Boston punk scene, was 30 years space. Exploring the voyeuristic act construction and social definition of work explores how encounters between old when he died of an AIDS-related illness. of simultaneously watching oneself the category of the ‘outsider’. Exploring strangers in controlled environments can The work displayed here, made during and others, the structure also questions marginality and challenging the distance that foster new tools for collective problem his final years, uses photographs and how we operate in the public sphere: conventionally separates the photographer solving. Inspired by the classic game X-ray images alongside other ephemera. a dimension that both alienates and and his subjects, his images focus on the of Snakes and Ladders, Melodrama is a Many of these works were produced seduces us. Courtesy of Lisson Gallery grey area between opposing forces, such board game customised to reflect the ups in a makeshift darkroom in his hospital as acceptance and discrimination. and downs of human relationships. Other bathroom. Courtesy of the Estate of Mark Morrisroe Jakob Kolding Courtesy of the artist and Stevenson Gallery games include ‘Mine-field’, ‘Feather Fun’, (Ringier Collection) at Fotomuseum Winterthur As yet untitled, 2012 and ‘Slow-motion Fight’. Commissioned by Kolding’s photocollages and posters Liverpool Biennial and FACT Kohei Yoshiyuki analyse the notion of identites by 5 FACT The Park, 1971–79 challenging collective imagery and rituals, Jemima Wyman Love Hotel, 1978 and the way these interact with the city. Anja Kirschner and David Panos Collective Coverings, Communal Skin, 2012 Throughout the 1970s, photographer Kohei Ultimate Substance, 2012 Wyman’s new work explores camouflage Yoshiyuki documented the busy nightlife Sun Xun In this new work, the artists return to fabric as a material with symbolic links in Tokyo parks. The resulting photographs Ancient Film, 2012 their interest in the problems of theory and to violence and conflict. Donated second- show the hidden side of the city; couples Sun Xun explores the cultural traditions practice, the tension between artistic form hand camouflage and hunting t-shirts will and groups engaging, or watching others of hospitality in his native China in a and empirical research and the relation be used as weaving material on hula-hoop engage, in sexual activity. Courtesy of the artist new, large-scale installation of drawing between economics and culture. Drawing looms. The public is invited to weave with and Yossi Milo Gallery, New York and animation created in response to the on references including archaeology, the artist, transforming objects of conflict Bluecoat’s gallery spaces. Referencing philosophy, mathematics and ritual, the into objects of comfort. Commissioned by Song Dynasty customs and style from work explores how the advent of coinage Liverpool Biennial and FACT the 11th century, he uses traditional in ancient Greece led to the fundamental and new media forms of expression to division between sensual and abstract Akram Zaatari negotiate the complex position of ‘host’ forms of experience. Commissioned by Liverpool Through his work, Zaatari looks at the way in contemporary China. Commissioned by Biennial, FACT, Secession (AT) and Extra City Kunsthal in which the production and collection ShangART and π Animation Studio Antwerpen (BE) with support from Neuer Berliner of images may be employed in the service Kunstverein (DE), CentrePasquArt Biel (CH) and of power, as an act of personal resistance, Arts Council England and to construct individual and collective 3 28–32 Wood Street identities. His ongoing investigation Kohei Yoshiyuki, Untitled, 1971, from the series The Park, Gelatin Silver Print questions how the photographic and filmic © Kohei Yoshiyuki, Courtesy Yossi Milo Gallery, New York Ming Wong medium informs aesthetic and social codes Making Chinatown, 2012 Courtesy of in the Arab world from the 1940s to the Sinta Tantra the artist / Commissioned by Redcat, Los Angeles present day. Together Yet Forever Apart, 2012 After Chinatown, 2012 Tantra reflects upon how buildings welcome The Chinese Detective, 2012 or repel us, and how bodies navigate Drawing on Polanski’s iconic film 6 Hotel Indigo environments shaped by light, colour and Chinatown, 1974, Wong plays on the physical structures. Tantra’s installation stereotypical cinematic role of the ‘Chinese Runo Lagomarsino transforms the external facade of the Open detective’. His ‘investigation’ takes him on Public intervention Eye Gallery and the adjoining public space, a journey through the world’s Chinatowns, Also see entry in The Cunard Building, page 4 creating a spectacle of submergence and uncovering the constructs of identity and superabundance. Commissioned by Liverpool Ming Wong, After Chinatown, 2012 place, and leading him to Liverpool. Publicity still, photo by Carlos Vasquez Biennial and Open Eye Gallery

6 7 8 LJMU Copperas Hill Building 10 Tate Liverpool Sophie Calle The sculpture is made from found objects The Hotel, Room 47, 1981 and materials. The title is taken from a Jorge Macchi Thresholds, presented as part of The Hotel, Room 44, 1981 found text discovered by the artist and Refraction, 2012 The Unexpected Guest. All the art works The Hotel, Room 29, 1981 attached to the sculpture. The text evokes Macchi has created an environment below are from the Tate Collection. The Hotel, Room 28, 1981 Native American culture in its description that plays with the occurrence of being In this series Calle combines factual of a typical settlement. suddenly immersed in a pool of water. Hurvin Anderson documentation with personal responses In so doing, he questions our ability to Jersey, 2008 to the hotel guests whose lives she Peter Fischli and David Weiss correctly locate ourselves in space. The painting depicts an abstracted interior glimpsed through voyeuristic examination Visible World, 1997 of a barbershop, which has featured in of their belongings. At times she is These still photographs were taken a number of Anderson’s compositions. uninterested – of the family in Room 47 by the artists during their international 9 The Monro His works recall the arrival of Caribbean Calle states ‘I am already bored’. However, travels. The colour images of tourist immigrants in Britain during the 1950s and she finds connections with many of her destinations are reminiscent of the pictures Janine Antoni 1960s, when barbershops were opened unknown guests. in travel brochures and allude to the Umbilical, 2000 in private homes and served as social increase in global tourism at the end Antoni’s work draws upon the complex, gathering spaces. Layla Curtis of the twentieth century. intimate relationship between mother and , 1999 child, and between objects and bodies. Keith Arnatt Made during the Scottish devolution and Gilbert and George Antoni cast the inside of her mouth, cupped A.O.N.B. (Area of Outstanding Natural the establishment of a Scottish parliament, England, 1980 around the bowl of a monographed silver Beauty), 1982 – 84 Curtis has manipulated a road map of Cunt Scum, 1977 spoon, a family heirloom. At the other end The series explores what Arnatt called the Great Britain to integrate Scottish and Cunt Scum is based on images of graffiti is an impression of the space within her ‘conjunction of “beauty” and “banality”’. Welsh territory within the contours of found mostly in the artist’s local area of mother’s hand. Courtesy of the artist and Luhring The photographs were taken in locations England, and English and Welsh within Spitalfields in east London. Traditionally Augustine Gallery, New York around the United Kingdom designated Scotland. Imposing one geographical home to London’s immigrant communities, for their striking landscapes. The distinctly area upon another, Curtis raises questions the area was attacked in the mid-1970s Markus Kåhre unbeautiful items in the foreground, such about place and national identity. by the National Front. As this represents No title, 2012 as piles of rubbish, question the notion a fractured country, Gilbert and George The artist has conceived an inn: a of a quintessentially British landscape. Eugenio Dittborn see England, as ‘being about nationhood’. welcoming and cosy environment where To Return (RTM) Airmail Painting slight physical and sensorial shifts conjure Kader Attia No.103, 1993 Simryn Gill against the peace of mind of the guests, Untitled (Ghardaïa), 2009 Dittborn’s ‘airmail paintings’ are posted Dalam, 2001 suggesting that the site might be haunted. Oil and Sugar #2, 2007 folded to their destinations, confronting A series of 258 photographs of domestic Untitled (Ghardaïa) reveals the flow of the idea of working in the periphery. interiors were taken over an eight week Dane Mitchell influence between colonised and coloniser He likened them to someone living on period as the artist travelled across Spectral Readings (Liverpool), 2012 through the lens of architecture, Attia an island, throwing a message out to sea. the Malaysian peninsula. Dalam is Malay Ghost Paper, 2012 stating that ‘architecture has first to do with Each panel is displayed unfolded alongside for inside, interior and also deep. Mitchell has created a wall-based work politics, with the political order.’ In Oil and its envelope, which records the places incorporating Marcel Duchamp’s equation Sugar #2 motor oil is poured onto a cube it has been. Thomas Hirschhorn ‘A Guest + A Host = A Ghost’ into its of sugar, the use of materials suggesting Drift Topography, 2003 design; and a series of hollow glass political metaphors. Jimmie Durham Hirschhorn seeks to represent the objects: containers or traps for ghost Dans plusieurs de ces forêts et de ces bois, complexities of social and political stories. The sculptures took shape Yael Bartana il n’y avait pas seulement des villages situations by creating monumental works and hardened as local tales were Kings of the Hill, 2003 souterrains groupés autours du terrier du from the basest of materials. In this work spoken into molten glass. This film depicts men driving four- chef mais il y avait encore de véritables a ring of US soldiers surround and guard wheel drive vehicles in the coastal hills hameaux de huttes basses cachés sous les a densely built-up, fenced-in territory. outside Tel Aviv, resonating with the arbres, et si nombreaux que parfois la forêt Israeli-Palestinian conflict. en était remplie. Souvent les fumées les trahissaient. Deux de…, 1993

8 9 William Kentridge affirming a dilemma between the desire for 12 METAL 13 The Royal Standard Cambio, 1999 progress and a persistent sense of failure. Dogana, 1999 Café Valise is METAL’s travelling pop-up Service Provider Pensione, 1999 Mark Wallinger cafe. Having spent time in Peterborough with Tether, FormContent, These works address the oddity between Royal Ascot, 1994 and Southend-on-Sea it comes to Liverpool GENERATORprojects, Laura Mansfield & words and images. The titles mean The work explores British identity through Biennial as a venue for art, food and Sovay Berriman, www.bubblebyte.org respectively ‘change’, ‘customs’ and depictions of class, politics and history. conversation at Edge Hill Station with Service Provider explores notions of ‘hotel / boarding house’. These words Precise moments of the Royal Ascot race, accompanying events and activities. private and public hospitality within the appear at odds with the images depicted such as the Queen’s smiles and waves, are Café Valise embodies some of the core context of a biennial structure and the in the prints, which refer to the landscape, depicted alongside BBC commentaries ideas of METAL’s work – participation, role that an artist-run space performs as his process of drawing, and the wealthy, merged together to create an unsettling hospitality, curiosity, conversation and an autonomous organisation. The Royal European-descended business man blather, highlighting the confusion of what debate all within a multi-disciplinary Standard has commissioned five artist-led wrestling with his guilty conscience. it is to be British. approach. Events include: groups and collaborations to occupy the gallery space over a two week period. Pak Sheung Chuen Yukinori Yanagi Lunch A Travel without Visual Experience, 2008 Pacific, 1996 A daily lunch and conversation hosted The installation reflects and questions the The work is a series of interconnecting by different guest artists and curators 14 Everton Park processes of tourism. Images are installed perspex boxes with coloured sand throughout the Biennial. in a dark room on wallpaper, visible to represent the flags of 49 nations. No charge but booking essential Fritz Haeg only through the flash of a camera. Thousands of ants were released into the Everton Park H.Q. and Foraging Spiral, 2012 boxes whose movement distributes the John Cooper Clarke Haeg re-activates the present and re- Martin Parr sand from one flag to another. Echoing The cult punk poet has created a spoken imagines the future of Liverpool’s Everton Common Sense, 1995 – 99 global migration, the ants gradually eroded word soundtrack to entertain and welcome Park in partnership with local residents and The images were taken all over the world the borders between different nations. you on your short train journey to Café collaborators. Plantings of wild and native at the height of the 1990s, dissecting Valise from Liverpool Lime Street to Edge edibles form the setting for the project modern consumerism. Parr analyses Hill Station. headquarters, a geodesic dome tent which society by photographing people, places will host meetings and events from 16 to and objects which reflect global tastes, 11 Liverpool ONE Suzanne Lacy Also see page 4. 17 September 2012. Commissioned by Liverpool traditions and travel. The artist hosts a series of events that give Biennial in partnership with , Liverpool City Thomas Steers Way young people, politicians and community Council and Liverpool Primary Care Trust George Shaw Elmgreen & Dragset leaders the chance to speak openly about Scenes from the Passion, 2002 But I’m on the Guest List Too!, 2012 the subject of rape and domestic violence. These derelict garage units in a semi-rural Examining the hierarchy of values and setting come from snapshots the artist meritocracy established by celebrity Oreet Ashery has taken of the urban landscape of culture, the artists’ oversized V.I.P. Party for Freedom, a poignant and his past. By editing out people and door, slightly ajar, invites the viewer humorous examination of populist claims contemporary additions, the work in but cannot be opened fully. that portray immigration and Islam as a explores memory and nostalgia. threat to Western values of freedom. Peter’s Lane Mark Titchner Oded Hirsch Thomas Joshua Cooper We Want to Nurture and Protect, 2004 The Lift, 2012 The intrepid photographer