Annual Report and Accounts 2018-2019
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Liverpool City Centre Strategic Investment Framework Strategic Priorities and Implementation Annexe
Liverpool City Centre Strategic Investment Framework Strategic Priorities and Implementation Annexe The projects identified within the Liverpool City Centre Strategic Investment Framework (SIF) relate to either Major Transformational Projects, Strategic Initiatives or Infrastructure. The delivery and implementation of these is of upmost importance to ensure job creation and economic growth is achieved. The following table has been established in collaboration with key stakeholders to ensure that a number of objectives are achieved. The areas for consideration within the table include: • Ownership- Responsibility for lead delivery is allocated to ensure projects are driven forward by the appropriate authority. They will enlist the support of other key stakeholders when appropriate; • Timeframes-The timeframe for delivery is in many instances dependent on the delivery of other linked projects and the project’s ability to deliver jobs. Three timeframes have been identified: 1-3 years for near term projects; 4-8 years for medium term projects; and 9-15 years for long term projects. • Priority- Projects have been prioritised to ensure that jobs are delivered throughout the 15 year duration of the SIF, with an initial boost in the near term to stimulate the economy and ensure that the reduced public sector employment opportunities are replaced by private sector opportunities. High priority projects will therefore be planned, implemented and delivered in the earlier stages of the SIF where funding allows; • Potential funding source- Various options for funding have been identified and other opportunities are expected to become available over the lifetime of the SIF ; and • Outcomes- Each project has been identified and designed to achieve an outcome which will benefit the city’s development, ultimately leading to job creation and economic growth. -
Impacts 08 Evaluation
Impacts 08 Team Dr Beatriz García, Director Ruth Melville and Tamsin Cox, Programme Managers Ann Wade, Programme Coordinator Document Reference: Impacts 08 – Miah & Adi (2009) Liverpool 08 – Centre of the Online Universe Liverpool 08 Centre of the Online Universe The impact of the Liverpool ECoC within social media environments October 2009 Report by Prof Andy Miah and Ana Adi Faculty of Business & Creative Industries Impacts 08 is a joint programme of the University of Liverpool and Liverpool John Moores University Commissioned by Liverpool City Council Impacts 08 – Miah & Adi | Liverpool 08 – Centre of the Online Universe | 2009 Executive Summary Background to the study One of the major topics of debate in media research today is whether the Internet should be treated as the dominant form of information distribution, outstripping the impact of other media, such as television, radio or print. Opinions vary about this, but numerous examples of successful online media campaigns abound, such as Barack Obama‟s use of social media during the US Presidential campaign. Today, other governments are quick to utilise similar environments, and 10 Downing Street has accounts with both YouTube and Flickr, the popular websites used for video and photo sharing respectively. Additionally, marketing and communications departments in business, industry, the arts and the media are rapidly re-organising their strategies around the rise of digital convergence and in light of evidence that demonstrates the decline (or fragmentation) of mass media audiences. These circumstances are pertinent to the hosting of European Capital of Culture by Liverpool in 2008. In short, if we want to understand how audiences were engaged during 2008, we need to complement a range of surveys and reporting with analyses of online activity, which have the potential to reflect both broader media perspectives and the views of people on the street. -
Lubaina Himid OUR KISSES ARE PETALS
Media Release: 5 April 2018 PRESS PREVIEW Thursday 10 May 2018 EXHIBITION 11 May – 30 September 2018 Lubaina Himid OUR KISSES ARE PETALS Lubaina Himid, Why are you Looking, 2018. Image courtesy the artist and Hollybush Gardens BALTIC Centre for Contemporary Art will launch the first in a series of exhibitions for the UK’s largest public event of 2018, the Great Exhibition of the North (22 June – 9 September), with a solo show of new work by Turner Prize-winning artist Lubaina Himid. Our Kisses are Petals will run from 11 May – 30 September, and will feature a community-focussed outdoor commission beginning in June. Our Kisses are Petals originates from new paintings on cloth that employ the patterns, colours and symbolism of the Kanga, a vibrant cotton fabric traditionally worn by East African women as a shawl, head scarf, baby carrier, or wrapped around the waist. Typically, kangas consist of three parts: the pindo (border), the mji (central motif), and the jina (message or ‘name’), which often takes the form of a riddle or proverb. For Himid, these multicoloured fabrics are ‘speaking clothes’, which employ ‘the language of image, pattern and text through which one woman’s outfit talks to another’s’. Himid’s works engage in a dialogue with each other and with the viewer, both through their individual jina, borrowed from influential writers just as James Baldwin, Sonia Sanchez, Essex Hemphill and Audre Lorde, and through the invitation for visitors to rearrange the hanging works by a system of pulleys to form their own poetry. The suspended Kangas take on a flag-like quality, which, together with the colours and patterns of the fabrics, evoke regimental and ceremonial colonial flag-bearing. -
Lubaina Himid Invisible Strategies Exhibition Notes
2. Le Rodeur: The Lock, 2016 Revenge – A Masque in Five Tableaux 7. Fishing, 1987 9. Mr Salt’s Collection – The Ballad of 3. Le Rodeur: Exchange, 2016 4. Ankledeep, 1991 Fishing was originally part of a larger the Wing series, 1989 After completing this most recent 5. Five, 1991 installation: a cast of cutout painted This work was first shown as part characters roaming across gallery walls. of Himid’s solo exhibition The Ballad series, the artist realised that these 6. Carpet, 1992 interiors were the odd, empty rooms Collectively titled Restoring the Balance, of the Wing at Chisenhale Gallery, of her earlier Plan B paintings, now 8. Unwrapped but not Untied, 1991 these figures appeared within the London, in 1989. It displays the artist’s first retrospective exhibition influence on her practice of populated with a full cast of characters, Himid asserts: ‘After the mourning New Robes for MaShulan, a caricature, particularly eighteenth- and always with a glimpsed view of comes revenge.’ Revenge is at once collaboration with Maud Sulter held at century satirical cartoonists such the sea. They reflect Himid’s complex a monument to the victims of the Rochdale Art Gallery in 1987. In Sulter’s as James Gillray, George Cruikshank 1. Freedom and Change, 1984 personal relationship to water and the transatlantic slave trade, a critique of 10. Bone in the China: Success to the curatorial text, ‘Surveying the Scene’, and William Hogarth. The painting sea: ‘I have never been able to swim the patriarchy, and a space for dialogue. Africa Trade, c.1985 ‘Discourse is a primary tool against the she declared: ‘The show does not stand references the vast collection of properly and am very frightened of This series is a lamentation, an act of weapons used to marginalise and write in isolation. -
Lubaina Himid
Lubaina Himid Hollybush Gardens launches its new space with an exhibition by Lubaina Himid, a painter and installation artist who has dedicated much of her thirty-year long career to uncovering marginalised and silenced histories, figures and cultural moments. Born in Zanzibar, Lubaina Himid was then brought up in North London by her mother, a Royal College of Art educated textile designer whose keen interest in patterns inspired her to follow an artistic path. Himid first took a BA in Theatre Design at Wimbledon College of Art in the mid-1970s, choosing this discipline for the connections it bore with radical politics, and in particular Black politics. While studying Cultural History at the Royal College of Art six years later, and by then deeply engaged in a struggle against the absence of representation of Black and Asian women in the art world, Lubaina Himid became committed to showing the work of her contem- poraries Sutapa Biswas, Sonia Boyce, Claudette Johnson, Ingrid Pollard, Veronica Ryan and Maud Sulter, alongside her own. She curated significant group exhibitions such as Five Black Women at the Africa Centre in 1983, Black Women Time Now at Battersea Arts Centre in 1983-84 and The Thin Black Line at the Institute for Contemporary Art in 1985, all of which were revisited in the temporary display Thin Black Line(s) at Tate Britain in 2011-12. In 1986, Himid exhibited her iconic installation A Fashionable Marriage at the Pentonville Gallery in London. Inspired by William Hogarth’s Marriage à-la-mode (1743), a series of six paintings satirising an arranged marriage gone wrong, Himid’s piece produced a biting critique of contemporary art and politics, and of their collusion. -
Liverpool - Maritime Mercantile City World Heritage Site Supplementary Planning Document Public Consultation Summary
Liverpool - Maritime Mercantile City World Heritage Site Supplementary Planning Document Public Consultation Summary Introduction The overarching aim of this SPD is to “provide a framework for protecting and enhancing the outstanding universal value of Liverpool –Maritime Mercantile City World Heritage Site, whilst encouraging investment and development which secures a healthy economy and supports regeneration. Liverpool has one of the longest and most recognisable waterfronts of any city in the United Kingdom and it has “the largest and most complete system of historic docks anywhere in the world.” Its remarkable history as an international seaport and its outstanding historic environment make it more than just another provincial English city. Indeed, the cultural heritage of Liverpool’s World Heritage Site is of outstanding universal value to the international community. Liverpool is witnessing a remarkable period of regeneration, as it seeks to grow, evolve and to find sustainable uses for its redundant historic docklands and the historic buildings that make such a positive contribution to its urban landscape. Liverpool City Council and its partners are committed to achieving a sensible balance between growth and conservation in this living working city. This SPD aims to provide guidance which will harmonise differing priorities for regeneration and conservation. It is a response to the changing demands of the port and the city, as Liverpool finds a new role in the 21st century, building upon its unique spirit of place. Enhancing Liverpool’s spirit of place is central to maintaining its distinctiveness, encouraging investment and development The Supplementary Planning Document (SPD) has been prepared to guide development, conservation and investment in the Liverpool - Maritime Mercantile City World Heritage Site (WHS) and its Buffer Zone with the aim of protecting the WHS’s Outstanding Universal Value whilst ensuring that it continues to play a leading role in the sustained regeneration of the City and the wider sub-region. -
Regeneration of a City Centre Liverpool
liverpool 1 regeneration of a city centre liverpool regeneration of a city centre Front cover; Liverpool One site boundary overlaid on the Designed by BDP city’s historic shoreline. (BDP). © 2009 BDP Produced by contents 2 Looking north towards the 3 Mersey Estuary – Liverpool One in the Heart of the City. introduction 4 1 a historical overview of liverpool 6 2 city regeneration 22 3 masterplan evolution 42 4 planning strategy 60 5 concept designs 70 6 the park 98 7 active streets 112 8 beyond 2008 128 epilogue 136 acknowledgments 138 introduction 4 by terry davenport It’s very rare to lead an undertaking that and fitted out in an eight year period plus, of undoubted impact that Liverpool One has had 5 transforms the fortunes of a great city. It’s course, all the enormous infrastructure works on the city, its visitors and proud inhabitants. even more unusual for that city to be your required for such an initiative. However, more importantly in these uncharted home town and place of birth. Because of The public support for the project times, the challenge to the industry is how my personal familiarity it has been a great was evident from the outset. So many to maintain the regeneration of our towns privilege for me to have led the Liverpool One disappointments over so many past years and cities under a quite different set of masterplan team, on behalf of Grosvenor, from meant that the public’s appetite for change was circumstances, circumstances which mean that the first day of the project. -
Lubaina Himid Warp and Weft
Lubaina Himid Firstsite Lewis Gardens, High Street, Colchester, Essex, CO1 1JH +44 (0) 1206 713 700 | www.firstsite.uk Warp and Weft Naming the Money, 2004, life-size painted cut-out plywood figures, audio. Loaned by the National Museums Liverpool, International Slavery Museum, and the artist. Photo: Spike Island Information Firstsite, Colchester, is delighted to present Warp and Weft, a survey of works by the 2017 Turner Prize nominee, Lubaina Himid. 1 July – 1 October 2017 A key figure in the Black Arts Movement, Himid first came to prominence in the 1980s when Opening event: Friday 30 June, 6 – 9pm she began organising exhibitions of work by her peers, who were underrepresented in the contemporary art scene. Her diverse approach disrupts preconceptions of the world by introducing historical and contemporary stories of racial bias and acts of violence inflicted upon oppressed communities. Himid is best known as a painter, and Warp and Weft is comprised of three bodies of work in which the artist adopts the mantel of the History painter to question its imperialist tradition. By reinserting black figures into this arena of power and prestige, Himid foregrounds the contribution of people of the African diaspora to Western culture and economy. The exhibition’s title, Warp and Weft, refers to the process by which threads are held in tension on a frame or loom to create cloth. Himid chose the title for its reference to Colchester’s important position in the wool trade between the 13th and 16th centuries, and its complex history of race and migration that is reflected in the productive tensions of Himid’s work. -
Press Release
Hollybush Gardens 1-2 Warner Yard London EC1r 5ey Tel: +44 (0)207 837 5991 www.hollybushgardens.co.uk lubaina himid Exhibition: 7 June - 15 August 2019 Preview: Thursday, 6 June 2019, 6:30 - 8:30 pm Hollybush Gardens is pleased to present a selection of drawings by Lubaina Himid that are being exhibited for the first time. This body of work was produced as part of the research process for what became Tailor, Striker, Singer, Dandy, a series of five painted portraits of black men that developed out of Himid’s encounter with the West African textiles held in the Manchester City Galleries’ extensive collection of historical fashion and clothing. Himid, whose mother was a textile designer, has been fascinated by patterns in garments since childhood. Patterns have populated her work from the 1980s to today, enlivening the visual surface and weaving together disparate threads—cultural, geographical, historical. Himid explains, ‘I love the language of pattern, its immense potential for movement, illusion, colour experiments and subliminal political messaging.' In developing the life-size portraits of Tailor, Striker, Singer, Dandy, Himid produced a body of drawings that interpret and re-contextualise the textiles she found in the collection. Colour, shape, and repetition are taken as devices embedded in clothing that are mobile and malleable, shifting in meaning across contexts. The drawings re-embed historical textile samples and clothing designs in the imagined male figures in anachronistic ways, animating the multi-directional and cross-historical flow of patterns in self-fashioning and identity. Lubaina Himid lives and works in Preston, UK and is a professor at the University of Central Lancashire. -
Black Art, Black Power: Responses to Soul of a Nation
Black Art, Black Power: Responses to Soul of a Nation Friday 13 October 2017 Starr Cinema, Tate Modern Programme 10.30 Welcome: Richard Martin (Tate) Californian Scenes 10.40 Kellie Jones (Columbia University), ‘South of Pico’ 11.00 Sampada Aranke (School of the Art Institute of Chicago), ‘Death’s Futurity’ 11.20 Discussion, chaired by Zoe Whitley (Tate) 11.50 Break; refreshments in Starr Foyer From Chicago and Washington to Lagos 12.20 Margo Natalie Crawford (University of Pennsylvania), ‘Black Public Interiority, Chicago-Style’ 12.40 Tuliza Fleming (National Museum of African American History and Culture), ‘Jeff Donaldson, FESTAC, and the Washington, D.C., Delegation’ 13.00 Discussion, chaired by Daniel Matlin (King’s College London) 13.30 Lunch New York Photography 14.30 Sherry Turner DeCarava (art historian) and Mark Godfrey (Tate) British Contexts: The Black Arts Movement and Beyond 15.10 Lubaina Himid (artist) and Marlene Smith (artist and curator), chaired by Melanie Keen (Iniva) 16.20 Break; refreshments in Starr Foyer Art in the Age of Black Lives Matter 16.50 Introduction: Mark Godfrey and Zoe Whitley 17.00 Barby Asante (artist), Kevin Beasley (artist) and Luke Willis Thompson (artist), chaired by Elvira Dyangani Ose (Creative Time and Goldsmiths, University of London) 18.00 Close; reception in Starr Foyer Biographies Sampada Aranke (PhD, Performance Studies) is an Assistant Professor in the Art History, Theory, and Criticism Department at the School of the Art Institute of Chicago. Her research interests include performance theories of embodiment, visual culture, and black cultural and aesthetic theory. Her work has been published in e-flux , Artforum , Art Journal , Ecquid Novi: African Journalism Studies , and Trans-Scripts: An Interdisciplinary Online Journal in the Humanities and Social Sciences at UC Irvine. -
Regenerating Liverpool Pier Head Waterfront: the Role of Urban Design
City, Culture and Architecture 2015; 1(1): 21-38 ISSN: 2148-1938 (Print) ISSN: 2149-8202 (Online) DOI: 10.15340/2148193811851 Research Article Regenerating Liverpool Pier Head Waterfront: the Role of Urban Design Mohamed Fageir1*, Nicole Porter2, Katharina Borsi3 1 2 3 University of Nottingham, UK Abstract: This paper investigates the processes by which the regeneration of the historical Pier Head waterfront in Liverpool took place during the first decade of the twenty-first century. The research focuses on three key regeneration projects at Pier Head Waterfront, namely the Fourth Grace, the New Museum of Liverpool and Mann Island Development. Each of these projects has undergone a relatively different process and, hence, faced different challenges and produced different outcomes. This study is based on a series of lengthy interviews with key stakeholders closely linked with the regeneration of the waterfront, a review of project related documents including urban design policy and guidance, a substantial review of relevant news articles that were written throughout the period of the recent transformation of the waterfront, and numerous site visits. By understanding the peculiarities of the global forces that drive large scale developments and the local context in which they occurred at Pier Head, several insights regarding the process of regeneration emerge. Findings foreground the role of urban design in urban waterfront regeneration, illustrating that despite the complexity of managing change, urban design has the capacity to mediate between the local and global forces and the needs/ desires of investors and local communities. Urban design is also imperative for challenging the negative impact of globalisation on the urban landscape. -
Albert Dock: What Part in Liverpool's Continuing Renaissance?
| 1 Albert Dock: What Part in Liverpool's Continuing Renaissance? Professor Michael Parkinson CBE and Dr Alex Lord ALBERT DOCK: WHAT PART IN LIVERPOOL’S CONTINUING RENAISSANCE? WELCOME | 3 Remember Albert Dock in 1979. Rotting, derelict, toxic, 600 acres written off. Look at it today. The site itself is transformed. The city is transformed. The lesson of the Dock from 1979 is that what matters is the person and the people in charge. Lord Michael Heseltine ALBERT DOCK: WHAT PART IN LIVERPOOL’S CONTINUING RENAISSANCE? FOREWORD | 5 Contents Chapter 1 . 7 What does this report do, how and why? I am very pleased to introduce the Heseltine Chapter 2. 10 Institute’s review of Albert Dock. How did we get to here? A nano history of Albert Dock As the authors say, the Dock is an iconic symbol of both Liverpool’s history and its renaissance – Chapter 3. 14 it is emblematic of the city’s social, economic How did the Dock renaissance begin? and cultural power. The work of the Merseyside Development Corporation 1981-1997 Speaking on behalf of the University of Liverpool I am determined that our talented staff and Chapter 4. 17 students will play a central role in supporting the Where does Albert Dock stand now? development of the city region. The University is an anchor institution in the North West, and our Chapter 5. 29 performance and reputation are intimately linked How do we build on Albert’s success across the wider to our location. Liverpool waterfront and city region? This report demonstrates the powerful contribution that the Heseltine Institute can make in shaping Appendix: Interviewees 34 future development in the city region.