BEGIN:VCALENDAR VERSION:2.0 PRODID:-//wp-events-plugin.com//7.4.5//EN TZID:Europe/London X-WR-TIMEZONE:Europe/London BEGIN:VEVENT UID:7471@artinliverpool.com DTSTART;TZID=Europe/London;VALUE=DATE:20230610 DTEND;TZID=Europe/London;VALUE=DATE:20230918 DTSTAMP:20230626T122603Z URL:https://www.artinliverpool.com/events/tate-liverpool-liverpool-biennia l-2023-at-tate-liverpool/ SUMMARY:Tate Liverpool: Tate Liverpool: Liverpool Biennial 2023 at Tate Liv erpool DESCRIPTION:10 June – 17 September 2023\n\n\nExhibition is open weekly on Monday\, Tuesday\, Wednesday\, Thursday\, Friday\, Saturday &\; Sunday . Check venue opening times for further information.\n\nAt Tate Liverpool\ , artists act as cartographers\, redrawing the lines of past catastrophes to create new possibilities. The exhibition traces a thread that connects catastrophe to ongoing healing\; from wound to repair\, from tragedy to jo y. The artists explore ways to connect ancestral knowledge\, with the pres ent. They consider how we might acknowledge and heal traumas of the past a nd the echoes that persist\, carried by the wind.\n\nIn the Wolfson Galler y\, Torkwase Dyson’s abstract work ‘Liquid a Place’ (2021) is compo sed of three striking structural objects\, which appear as both static and fluid simultaneously. The curved constructions are excavated by triangula r voids within their centres\, signifying a gateway\, a shelter\, or the s ailing route upon which 2.4 million enslaved Africans lost their lives. Th e piece is in direct conversation with the dark histories of the water and docks which surround Tate Liverpool – Britain’s first commercial wet dock was constructed nearby in 1715 to service and expedite the Transatlan tic Slave Trade. In this work\, Dyson presents water as a simultaneous spa ce of resistance\, terror\, conflict\, pollution\, oppression\, refuge\, e xtraction and liberation\, particularly for Black and Brown bodies.\n\nUps tairs\, Edgar Calel’s work ‘Ru k’ox k’ob’el jun ojer etemab’e l (The Echo of an Ancient Form of Knowledge)’ (2021) presents stones as sacred sites of ritual adorned with fruit and vegetables placed during a p rivate ritual during the exhibition installation. Exhibited here for the f irst time since Tate began its 13-year custodianship of the work\, the pie ce exists as an offering to the land and Calel’s ancestors. In the artis t’s home\, stories from dreams are shared amongst families over breakfas t and are understood to foretell the energy for the day or task ahead. For Calel\, dreams\, art and spirituality are always interconnected and here\ , they have determined the specific produce which is on offer as thanks. C alel draws on ancestral knowledge from his Mayan Kaqchikel heritage\, his work both a celebration of the traditions and spirituality of his communit y in Guatemala and an act of resistance in its presentation of ancestral p ractices. The work creates a space to acknowledge\, honour\, preserve and be in the presence of ancestral indigenous forms of knowledge.\n\nFátima Rodrigo Gonzales presents several works from her ‘Holograms’ series ( 2020-2022)\, alongside a newly commissioned textile work\, ‘Contradanza ’ (2023). Both explore how fashion photography often copies and extracts from aesthetics and traditional dress of indigenous people and cultures f or commercial purposes. In these types of photographs\, people are portray ed as subjects with no identity\, reduced to their costumes that become de tached from their original purpose or meaning through repetitive postures and gestures. Through the photographer’s lens\, Andean and other indigen ous bodies become exotic commodities for an international market\, enablin g hierarchies that reproduce the colonial idea of a “civilised us” con structed in opposition to the “indigenous others”. Using the same patt erns and symbols\, often lost in the background of these staged photograph s\, she creates new abstract compositions which reclaim the existence\, me aning and essence of traditional Andean celebrations. In this way\, Rodrig o Gonzales’ work makes sacred what has been commodified.\n\nFrancis Offm an proposes a meditation on the Rwandan genocide\, an intimate reflection on how to convey history’s violent narrative through objects of persona l connection. ‘Untitled’ is centred around a Bible belonging to Offman ’s mother which accompanied her as she fled the country with her family following the onset of the Rwandan Civil War. The floor is filled with boo ks\, each delicately held up by callipers – instruments used by Belgian colonisers to measure the facial features of Rwandan people and classify t hem into racial groups. This immense violence is juxtaposed against the da ily pleasure of drinking coffee – a major export of Rwanda – with repu rposed grounds spread on the fabric and covering the books. The dialogue b etween these objects demonstrates how personal experience is central to co llective histories and healing.\n\nGala Porras-Kim’s work questions the museum storage system\, investigating institutional frameworks and the eth ics of keeping and caring for objects. In ‘Out of an instance of expirat ion comes a perennial showing’ (2022 – ongoing)\, Porras-Kim propagate s mould spores from the British Museum’s collection storage\, liberating and regrowing microscopic parts of the exhibits and artefacts. The work i s a living organism. The mould spores will grow and spread over the course of the exhibition\, inverting traditional concerns within conservation wh ich aim to prevent and contain growth.\n\nGuadalupe Maravilla’s ‘Disea se Thrower’ series (2019) are autobiographical constructions which are a t once sculptures\, shrines\, wearable headdresses\, and healing instrumen ts\, reflecting on the artist’s own experiences as an undocumented migra nt and cancer survivor. Elements of the work are crafted from objects coll ected during Maravilla’s retracing of his childhood migration route made alone to the USA at the age of 8 to escape the civil war in El Salvador\, interwoven with items from the spiritual and shamanic practices the artis t experienced after his diagnosis with colon cancer in his mid-30s. The wo rks consider ancient and contemporary methods of healing the body and spir it from the traumas of displacement. The artist works with healers of all types to activate the works during sound ceremonies which include gongs\, singing\, flutes\, harmonicas and many other types of sound instruments.\n \nIn the creation of her work\, Isa do Rosário is led by spiritual conv ersations with Orixás (pronounced ‘oh-ri-shas’) and those who lost th eir lives during the Transatlantic Slave Trade. According to Candomblé\, an African religion that developed in Brazil during the 19th century\, Ori xás are believed to be deified ancestors who represent forces of nature. These deities can be communicated with directly and offer guidance\, prote ction\, prosperity and health. The large and intricate textile work exhibi ted here emerges directly from this connection and communication\, creatin g a meditation space for remembering\, mourning and ascension.\n\nLubaina Himid’s work\, ‘Between the Two my Heart is Balanced’ (1991)\, is a re-imagining of French artist James Tissot’s painting ‘Portsmouth Dock yard’ (c.1877). Himid’s work subverts the artistic canon\, centralisin g two Black female figures and using painting as a place to imagine someth ing other than pain. In Tissot’s work\, a white British soldier is seate d in a boat between two white women. Meanwhile\, Himid’s piece replaces the soldier with a stack of coloured maps which the women are tearing apar t. This action indicates a rejection of traditional forms of knowledge\, n avigation and rules created and controlled by white men. Himid’s contrib ution to the British Black arts movement has been pivotal since the 1980s\ , carving out space for the expression and recognition of Black experience and women’s creativity. In her work ‘Act One\, No Maps’ (1992)\, Hi mid further explores the overlooked and invisible aspects of history and c ontemporary life through positioning Black women as protagonists. The pain ting depicts two Black women seated at the opera\, gazing out at a seascap e from their balcony seats. Inspired by the Impressionist works of Auguste Renoir and Mary Cassatt\, Himid was drawn to create these pieces as a rec laiming of space after the realisation that she could not recall ever seei ng a painting with two Black female protagonists.\n\nNolan Oswald Dennis ’ work ‘No conciliation is possible (working diagram)’ (2018 – ong oing) is next in their series of installations consisting of map-like wall diagrams and a shifting selection of drawings and objects which amplify t he diagrams’ contents. Dennis explores the hidden structures that determ ine the limits of our social and political imagination. Within the diagram \, the meanings of terms such as ‘welcomed and unwelcomed’\, ‘apolog y’\, ‘land’\, ‘country’\, ‘home’\, ‘dream’ ‘ancestor ’\, ‘inheritance’ and ‘healing’ are complicated by their shared and unshared meanings. Meanwhile\, the use of terms like ‘reconciliation ’\, ‘reparations’\, ‘repatriation’\, ‘regeneration’\, ‘com pensation’ and ‘justice’ can be seen as a condition and limitation o f imagining a world beyond our reality. The artist is concerned with a ‘ Black consciousness of space’\, questioning the politics of space and ti me. In particular\, the work examines how decolonisation\, colonial compen sation and conciliation exist throughout history\, in the present and into the future.\n\nIn ‘Mumbo Jumbo and The Committee’ (2022)\, Pamela Ph atsimo Sunstrum explores the conflicting demands faced by the artist in p ursuit of home and wholeness – the intrinsic expectations of family and community\, with the demands and limitations imposed by whiteness. Through drawing\, animation and bespoke furnishing inspired by Victorian design a esthetics\, Sunstrum looks at how our cultural identities are often tied t o our environments\, to the expectations of others and imposing systems of class and race inequality.\n\nIn her artistic practice\, Shannon Alonzo  aims to create a connection\, or draw a thread\, between past and presen t. She etches\, stitches\, draws and moulds as a way of making the rich ar chive of the Caribbean community more tangible. She attempts to counteract years of historical erasure and remnants of colonial legacy which often o bscures progress towards collective belonging and a deeper understanding o f the self for Caribbean people. Created in response to an article on the ‘postcolonial diet’ in the Caribbean\, ‘Lowest Hanging Fruit’ (201 8) questions how our everyday choices are often informed by our history. T he layers of the garment represent periods of time\, with the subject seen lifting the upper layer – which represents the present – in order to reveal the past. ‘Washerwoman’ (2018) is inspired by an unnamed woman featured in a photograph taken by J.W. Cleary in Jamaica around 1890. It i s the product of Alonzo’s attempt to get to know her ancestors through t he work of her own hands\, which silently move alongside theirs across tim e.\n\n ATTACH;FMTTYPE=image/jpeg:https://www.artinliverpool.com/wp-content/upload s/2023/06/Torkwase-Dyson-‘Liquid-a-Place-2021.-Liverpool-Biennial-2023-a t-Tate-Liverpool.-Courtesy-of-Liverpool-Biennial.-Photography-by-Mark-McNu lty-2-1920x1440-1.jpg LOCATION:Tate Liverpool\, Albert Dock\, Liverpool\, L3 4BB\, Liverpool\, Un ited Kingdom GEO:53.4003;-2.9927 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Albert Dock\, Liverpool\, L 3 4BB\, Liverpool\, United Kingdom;X-APPLE-RADIUS=100;X-TITLE=Tate Liverpo ol:geo:53.4003,-2.9927 END:VEVENT BEGIN:VTIMEZONE TZID:Europe/London X-LIC-LOCATION:Europe/London BEGIN:DAYLIGHT DTSTART:20230326T020000 TZOFFSETFROM:+0000 TZOFFSETTO:+0100 TZNAME:BST END:DAYLIGHT END:VTIMEZONE END:VCALENDAR