Drawing Sessions #2
Julian Shepherd dreams of a time when Drawing Sessions happened each week… Pulling back the green curtain into the Camp and Furnace bar, meandering past lambs wool jumpered musos and delicious wafts of...
Keep the Lights on – Previewed
DW Mault on that rarest of things, the English-language film which refuses to spoonfeed… Duality is key component of the philosophical ideal of both reaction and explanation to the unanswered question: the Socratic...
Culture Diary w/c 26-11-12
Monday – Ninja Scroll 9pm @ FACT It’s not every day that you get to see a classic 90′s anime on the big screen. And if you’re new to this genre, Ninja Scroll...
Lawrence of Arabia – Previewed
DW Mault takes a philosophical trip through David Lean’s Lawrence of Arabia, restored for its 50th anniversary… Cinema is a question with no answer. A rhetorical question then? Maybe. An argument with itself,...
What’s left behind: LJMU Copperas Hill
In the final weekend of Biennial 2012, C James Fagan muses on the relative success – or otherwise – of the work at Copperas Hill… One thing we’ve come to expect from the Liverpool Biennial...
Tracing the Century: Drawing as a Catalyst for Change
Linda Pittwood tours a sexually charged and meditative exhibition and asks: is drawing having a moment? If this exhibition was to come up with a definition of drawing – which it deliberately...
Biennial 2012: Expectant Hosts?
What happens when a guest is treated very much as an unexpected one? Joe Zhu found himself in exactly that position… With every Liverpool Biennial of course comes a theme. Whether it be...
My Cherie Amour
DW Mault writes a (kind of) love letter to Michael Haneke, the creator of Amour, the film which won him a second consecutive Palme d’Or… Haneke, light of my life, fire of my loins....
Biennial 2012: Last Chance to See
Postpone no more – as the end of the Biennial draws near, we sum up what you absolutely can’t afford to miss … How time has flown. This year’s Biennial started mid-September with...