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19 January - 13 February 2022

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Read Now Write Now: Climate Champions Reading Event

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30 January 2022

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Read Now Write Now: Climate Champions Writing Workshop – Adults part 2

27 February 2022

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20 February 2022

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Climate Cafe: Session 3

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Climate Cafe: Session 1

26 January 2022

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Land Art – How to approach Environmental Photography Projects with Hanna-Katrina Jędrosz

23 February 2022

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Mersey Green Map Workshop 1 – Finding Green Local Businesses on Merseyside

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Land art – Messages and Manifestos: Photography as Activism with Louis Quail

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Growing Sudley CIC: Nature’s Apothecary Workshop 2

13 February 2022

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Growing Sudley CIC: Nature’s Apothecary Workshop 1

23 January 2022

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LOOK Climate Lab 2022

13 January - 20 March 2022

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10 November - 12 December 2021

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1 December - 17 December 2021

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3 December 2021

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Open Rooms #19: Moral Turpitude

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8 July 2021

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18 October 2021

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22 October 2021

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19 November 2021

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The Mutual Respect Manifesto by Glow Creative Learning

25 October 2021

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11 December 2021

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Who’s Left Behind? Part 2: Tadhg Devlin, staff from Community Integrated Care, and Mersey Care NHS Foundation Trust in association with Liverpool SURF group

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Who’s Left Behind? Part 1: Liverpool Cares and MA SEP graduate Vilija Skubute

24 November 2021

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Open Rooms # 17: Today, Tomorrow and Somewhere in between

11 November 2021

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Alvin Baltrop And Gordon Matta-Clark: The Piers From Here

7 December - 9 February 2014

Open Eye Gallery is proud to bring together, for the first time in the UK, the work of photographer Alvin Baltrop (1948 – 2004) and that of the ‘anarchitect’ Gordon Matta-Clark (1943 – 1978), whose pivotal role in the field of photography has been often overlooked.

The exhibition focuses on the area of the Piers in New York City during the mid 1970s, and speaks of the state of abandonment and dilapidation these underwent as a consequence of the oil crisis that reconfigured the geography of the city as well as the international market and trading system.

The New York piers act as a mirror or counterpart of the Liverpool’s docklands. Historically linked via the transatlantic route that since Colonial times, connected Europe to the Americas, the Piers in New York and the docks in Liverpool experienced a similar process of transformation. Being unproductive and deserted, these were gradually reclaimed by an invisible population who used them for a variety of activities, spanning from gay cruising, drug-dealing and smuggling to prostitution, but also bringing together an underground community of visual artists, musicians, film-makers, performers and photographers.

Whilst Gordon Matta-Clark was pursuing the idea that art could act as a catalyst for urban regeneration and land re-appropriation, Baltrop investigated the life at the margins, mapping hedonistic displays of flesh, occasional sexual intercourse, corpses that could be mistaken for sleeping squatters (and vice versa) and other traces of humanity hidden amongst the interstices of society, notwithstanding the sense of freedom and liberation originating in the sexual revolution.

In 1975 Gordon Matta-Clark illegally entered and took over Pier 52, a huge corrugated iron structure, almost classic in its majesty and to put it in Gordon’s words “completely overrun by the gays”. There he created one of his famous ‘cuts’ entitled Day’s End, a spectacular anti-monumental intervention brought to life by the rotation of the sun, that could enter the building thus reflecting in the water of Hudson River. As Matta-Clark was creating this architectural installation made of light, shadows and water, Alvin Baltrop kept documenting the activity of the only other occupants at the Piers. The encounter resulting from their different approaches is documented in this exhibition, that represents an occasion to look back at those years, reflecting on gentrification and regeneration across the ocean and at the simultaneous disappearance of the underground (sub)culture.

This exhibition is in collaboration with The Alvin Baltrop Trust and Third Streaming, New York and the Estate of Gordon Matta-Clark and David Zwirner, New York/London.

The exhibition is supported by Homotopia Festival.

Download the eBook HERE.

Download the audio guide HERE.

Open Eye Gallery is proud to bring together, for the first time in the UK, the work of photographer Alvin Baltrop (1948 – 2004) and that of the ‘anarchitect’ Gordon Matta-Clark (1943 – 1978), whose pivotal role in the field of photography has been often overlooked.

The exhibition focuses on the area of the Piers in New York City during the mid 1970s, and speaks of the state of abandonment and dilapidation these underwent as a consequence of the oil crisis that reconfigured the geography of the city as well as the international market and trading system.

The New York piers act as a mirror or counterpart of the Liverpool’s docklands. Historically linked via the transatlantic route that since Colonial times, connected Europe to the Americas, the Piers in New York and the docks in Liverpool experienced a similar process of transformation. Being unproductive and deserted, these were gradually reclaimed by an invisible population who used them for a variety of activities, spanning from gay cruising, drug-dealing and smuggling to prostitution, but also bringing together an underground community of visual artists, musicians, film-makers, performers and photographers.

Whilst Gordon Matta-Clark was pursuing the idea that art could act as a catalyst for urban regeneration and land re-appropriation, Baltrop investigated the life at the margins, mapping hedonistic displays of flesh, occasional sexual intercourse, corpses that could be mistaken for sleeping squatters (and vice versa) and other traces of humanity hidden amongst the interstices of society, notwithstanding the sense of freedom and liberation originating in the sexual revolution.

In 1975 Gordon Matta-Clark illegally entered and took over Pier 52, a huge corrugated iron structure, almost classic in its majesty and to put it in Gordon’s words “completely overrun by the gays”. There he created one of his famous ‘cuts’ entitled Day’s End, a spectacular anti-monumental intervention brought to life by the rotation of the sun, that could enter the building thus reflecting in the water of Hudson River. As Matta-Clark was creating this architectural installation made of light, shadows and water, Alvin Baltrop kept documenting the activity of the only other occupants at the Piers. The encounter resulting from their different approaches is documented in this exhibition, that represents an occasion to look back at those years, reflecting on gentrification and regeneration across the ocean and at the simultaneous disappearance of the underground (sub)culture.

This exhibition is in collaboration with The Alvin Baltrop Trust and Third Streaming, New York and the Estate of Gordon Matta-Clark and David Zwirner, New York/London.

The exhibition is supported by Homotopia Festival.

Download the eBook HERE.

Download the audio guide HERE.

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