“Universes that blur boundaries of generation and audience.” Curator and art historian Tally de Orellana invites us into the dreamlike worlds of visual artist Tom de Freston… Literature grants us access to imaginary spaces removed from...
Caught up in the rush to diversify, art collections and the narratives they reflect, or don’t, seem more to the fore than ever. Mike Pinnington on an exhibition of Salford University’s Collection that...
“We feel that mark-making is intrinsic to the human condition.” Celebrating contemporary drawing in its many forms from artists both local and global, co-curators of the Drawing(Paper)Show select some of their favourite pieces featuring in...
“Perhaps the most remarkable thing about Wood’s pictures is the humanity so near to their surface.” Mike Pinnington on Photie Man: 50 Years of Tom Wood… Photography is full of dualities. Not least presence...
For the 12th edition of Liverpool Biennial, curator Khanyisile Mbongwa said she had been tasked with using art as a means to “move through the woundedness” of global and local traumas, both past and...
It was announced earlier this year that Tate Liverpool is due to close its doors in October for a major refurb. This week sees the gallery communicate more details about the proposed reimagining...
Writers wanted! The Double Negative is excited to announce its collaboration with Liverpool Biennial to commission a Merseyside-based writer to reflect on this year’s festival, uMoya: The Sacred Return of Lost Things. For Liverpool...
“Like popping candy for the mind.” Mike Pinnington on Chila Kumari Singh Burman’s Merseyside Burman Empire at FACT Liverpool… A riot of colour hits you on arrival. Initially it’s hard for the eyes to...
A commission in collaboration with ArtReview and Open Eye’s Ukrainian photography exhibition, HOME: Matthew Lloyd considers Elena Subach’s Chairs, the absurdist symptoms of the Ukrainian war, and the haunting displacement of its citizens…...