I particularly enjoyed seeing the three spaces on Vauxhall Road, Liverpool.

The Royal Standard was showing work by Rob Chavasse over two sites whilst Cactus featured an installation by Jesse Wine and Glen Pudvine

http://cactusgallery.co.uk/information/

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Jesse Wine was also recently on show at MOSTYN in Llandudno.

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Tate Liverpool has a new display of work from the collections for the biennial. As with elsewhere across the city this is a quieter, less attention seeking affair than in previous editions. There is a welcome focus on drawing and more subtle work, but again this biennial is fraught with confusion, so it seems hard to know whether it is that I’m just drawn to specific work or whether I’m looking at what I like from a pick and mix. Either way, it was a joy to see Susan Hiller’s Balthazar’s Feast, Helena Almeida’s drawings and Philip Guston’s prints. It’s interesting to note that these are all older generation artists, who are coming to the fore to be re-assessed.

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Going into the Old Blind School, you are presented with questions and dilemmas. Why are those ropes suspended from the ceiling? An ice machine keeps churning out blocks of ice, which it spews on the floor and melts leaving a wet patch in the main entrance… And then you start to think in metaphor. At the moment my life feels like that; working really hard to get things done, releasing them and just constantly thinking about the balance, a perpetual rigmarole. All work and no play makes Jack a dull boy. Anyway, the building is amazing, a rambling two, or is it three, storey container for many a half told tale. The building is in that liminal space between derelict and refurbished, and the work looks beautiful in it. This is a quietly sophisticated, often melancholic exhibition, that, although often puzzling, allows me to find lightness in the darkness and potentially heavy subject matter. It’s an exhausting exhibition, that really needs time to fully reflect. There are a number of video/ film works and these require time to fully appreciate. It is possible to spend over two hours in here and still not have seen everything.

I particularly enjoyed seeing Judith Hopf’s work. The idea of using branches made of bronze to bring the suggestion that this is some enchanted castle, being overgrown with trees, or reflecting on the ongoing restoration work and suggesting a space left abandoned. These are quietly strong pieces that appear through the building.

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Judith Hopf: The Sumac is like the Cherry Blossom Branch 2014
Commissioned by Liverpool Biennial 2014

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Judith Hopf: Flock of Sheep, 2014

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Judith Hopf

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Judith Hopf: The Sumac is like the Cherry Blossom Branch 2014
Commissioned by Liverpool Biennial 2014

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Image 2

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Peter Wächtler

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Christina Ramberg

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Christina Ramberg

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Christina Ramberg

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Marc Bauer

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Marc Bauer
Commissioned by Liverpool Biennial 2014

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Marc Bauer
Commissioned by Liverpool Biennial 2014

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Nicola L

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Nicola L.

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Nicola L.

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A traditional process. Tweed woven in Yorkshire since 1837


I’m really excited for people to get to see this amazing work in an incredible setting. I’ve curated it as part of Creative International.

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