They Say It’s Your Birthday:
Tate Liverpool at 25
Tate Liverpool is celebrating its 25th anniversary today. We asked five prominent members of Liverpool’s art scene about their favourite exhibitions hosted by the gallery…
Wandering around Tate Liverpool is 25, which chronicles a quarter of a century of the gallery’s place at the heart of Liverpool’s cultural landscape, we decided we’d ask a few people peculiarly well-placed about their favourite exhibitions over the years. They didn’t disappoint, coming up with shows covering the whole period:
Jon Barraclough, studio member at The Royal Standard and co-publisher of the Drawing Paper
Some highlights for me have been ‘Working with Nature” contemporary art from Korea, (1992!) curated by Lewis Biggs and Judith Nesbitt (sometime in the early 90s). Also Kara Walker, Susan Hiller (in 96 I think) and of course Tracing the Century, the drawing show curated by Gavin Delahunty. It’s also been the only serious local bookshop for contemporary art. I’ve spent too much there.
Bryan Biggs, Artistic Director, the Bluecoat
Art, Lies and Videotape: Exposing Performance, 2003 – 2004, curated by Adrian George, which looked at the history and significance of performance art through a wonderful array of objects, photographs, reconstructions, films and videos. It was full of unexpected twists and turns, and told a familiar story in a beautiful way whilst highlighting the challenges of documenting performance’s fleeting moments.
Lewis Biggs, Director of Tate Liverpool 1990-2000
You can’t ask a question like that! From the 1990s, Sigmar Polke’s show was extraordinary (especially since he agreed to a major show in Liverpool before he had done so in London); but so were the shows by Gilbert and George, Rachel Whiteread, Mark Wallinger … because my own favourite exhibitions explore the work of single artists.
When, about a decade ago, financial exegesis meant it was no longer possible to make exhibitions of work by solo contemporary artists, I thought The Centre of the Creative Universe was a brilliant exhibition (the research uncovering lost connections of international interest). And both the Picasso and Magritte exhibitions took interesting new angles on those artists’ work, offering an experience of huge quality.
Jemima Pyne, Head of Media and Audiences, Tate Liverpool
I’ve been thinking about this question and I don’t think I have a favourite exhibition. Starlit Waters, the opening exhibition in 1988 is very memorable, I was the exhibitions assistant working with Lewis Biggs, I was very enthusiastic but had no experience of putting on exhibitions so not sure I was much help!
The Turner Prize in 2007 was another very significant exhibition, it was the first time the prize has been held outside London, and some of our colleagues were clearly apprehensive (I likened the experience to borrowing the family car when you’re a teenager – you know whatever else happens you’ve got to get it back home in perfect condition). The Prize has since been shown at the Baltic in Gateshead and this year will be part of Derry/Londonderry’s Year of Culture celebrations.
We’re already working on exhibitions for 2014 and 2015 and I can’t imagine working somewhere where whole floors don’t change every few month, exhibitions really are quite addictive!
Sally Tallant, Director of Liverpool Biennial
Mike Kelley: The Uncanny was just great – it had a roomful of mannequins; you wouldn’t think it was a good idea, but it was brilliant!
All images courtesy Tate Liverpool
Tate Liverpool is 25 continues until 27th May
