Main Exhibition

Who We Are

22 June - 26 June 2017

Future Exhibitions

OPEN 3: AFFECTING CHANGE

7 July - 17 September 2017

Past Exhibitions

Tate Exchange Liverpool

27 November - 29 November 2016

Past Exhibitions

Jerwood/Photoworks Awards 2015

28 October - 18 December 2016

Wall Work

40 Years of Open Eye Gallery: 1977-2017

5 January 2017

Past Exhibitions

North: Identity, Photography, Fashion

6 January - 19 March 2017

Past Exhibitions

Culture Shifts: Global

7 April - 18 June 2017

Culture Shifts

Mersey Care NHS Foundation Trust

9 October 2016

Culture Shifts

Sefton

9 October 2016

Culture Shifts

Toxteth

9 October 2016

Culture Shifts

Kirkby

9 October 2016

Culture Shifts

St Helens

9 October 2016

Culture Shifts

Halton

9 October 2016

Culture Shifts

Wirral

9 October 2016

Culture Shifts

Animator Training

9 October 2016

Past Exhibitions

Liverpool Biennial 2016

9 July - 16 October 2016

Past Exhibitions

Walter & Zoniel: Spectra

9 July - 16 October 2016

Past Exhibitions

Tromarama

9 July - 31 July 2016

Past Exhibitions

Telling Tales

6 July - 11 July 2016

Past Exhibitions

Collected Possibilities

15 June - 19 June 2016

Past Exhibitions

Open 2: Pieces of You

15 April - 5 June 2016

Past Exhibitions

Flat Death: Edgar Martins & Jordan Baseman

15 January - 3 April 2016

Past Exhibitions

Mishka Henner: Precious Commodities

2 March - 29 April 2013

Past Exhibitions

Edith Tudor-Hart: Quiet Radicalism

2 March - 29 April 2013

Past Exhibitions

A Lecture Upon The Shadow

7 December - 17 February 2013

Past Exhibitions

E. Chambre Hardman

7 December - 17 February 2013

Past Exhibitions

Kohei Yoshiyuki: Liverpool Biennial 2012

15 September - 25 November 2012

Past Exhibitions

Mark Morrisroe: Liverpool Biennial 2012

15 September - 25 November 2012

Past Exhibitions

Sinta Tantra – Together, Yet Forever Apart: Liverpool Biennial 2012

1 September - 1 January 2014

Past Exhibitions

Still Outside (Or Unexplained)

22 June - 2 September 2012

Past Exhibitions

Erwin Wurm: One Minute Sculptures

22 June - 2 September 2012

Past Exhibitions

Richard Mosse: Infra

30 March - 10 June 2012

Past Exhibitions

Simon Norfolk: For Most of It I Have No Words: Genocide, Landscape, Memory

30 March - 10 June 2012

Past Exhibitions

Emily Speed: Nothing Is Finished, Nothing Is Perfect, Nothing Lasts

30 March - 2 September 2012

Past Exhibitions

Painted Photographs

13 January - 18 March 2012

Past Exhibitions

Richard Simpkin And Simone Lueck: Richard & Famous

13 January - 18 March 2012

Past Exhibitions

Mitch Epstein: American Power

5 November - 23 December 2011

Past Exhibitions

Chris Steele-Perkins: The Pleasure Principle

5 November - 23 December 2011

Past Exhibitions

S Mark Gubb: Good Sailing…

5 November - 18 March 2012

Past Exhibitions

Festive Photo Fayre

16 December - 20 December 2015

Past Exhibitions

Curious Gallery: An Exhibition Designed By Children

11 December - 13 December 2015

Past Exhibitions

Zanele Muholi: VUKANI/RISE

18 September - 29 November 2015

Past Exhibitions

Open 1

16 May - 23 August 2015

Past Exhibitions

Metamorphosis Of Japan After The War

22 January - 26 April 2015

Past Exhibitions

Robert Heinecken: Lessons In Posing Subjects

7 November - 11 January 2015

Past Exhibitions

Not All Documents Are Records: Photographing Exhibitions As An Art Form

5 July - 19 October 2014

Past Exhibitions

Paul Morrison: Urformen

1 June - 1 December 2016

Past Exhibitions

Ebb And Flow: A Visual Chronicle Of The Changes Within Liverpool’s Chinatown

17 May - 22 June 2014

Past Exhibitions

Letizia Battaglia: Breaking The Code Of Silence

22 February - 4 May 2014

Past Exhibitions

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

7 December - 9 February 2014

Past Exhibitions

Tim Hetherington: You Never See Them Like This

6 September - 24 November 2013

Past Exhibitions

Charles Fréger: The Wild And The Wise

17 May - 26 August 2013

Past Exhibitions

Eva Stenram: Drape

17 May - 26 August 2013

Close
Close

NOT ALL DOCUMENTS ARE RECORDS: PHOTOGRAPHING EXHIBITIONS AS AN ART FORM

NOT ALL DOCUMENTS ARE RECORDS: PHOTOGRAPHING EXHIBITIONS AS AN ART FORM

NOT ALL DOCUMENTS ARE RECORDS: PHOTOGRAPHING EXHIBITIONS AS AN ART FORM

RT @RedeyeNetwork: Congrats to the photography students of @hughbaird now exhibiting in @OpenEyeGallery - not to miss as it's open for a fe…

Get down to Open Eye Gallery now for the launch of our new photography exhibition: Who We Are. Free / 6pm-8pm Tonig… https://t.co/GZx7ETOt5y

RT @hughbaird: Gary Brown, Digital Imaging & Photography graduate, installing his work @OpenEyeGallery for the 'Who We Are' graduate showca…

RT @WomeninPhoto: Our severe condolences to Khadija Saye's family, a talented & bright person, our graduat, who didn't make out of #Grenfel…

👀 Photo from @ewewiora, our Creative Producer and the driving force behind #CultureShifts https://t.co/tpP8ufbPMc

Not All Documents Are Records: Photographing Exhibitions As An Art Form

5 July - 19 October 2014

Not All Documents Are Records represents Open Eye Gallery’s contribution to the Liverpool Biennial 2014. The exhibition, curated by Lorenzo Fusi, looks at three key international visual art platforms through the lens of photography, moving between the past and future. The main theoretical question underpinning the project is: “Can photography be the site where the history of an exhibition is produced and still retain its independent artistic autonomy, thus overcoming pure documentation?”

The exhibition starts its journey from two of the most important art events in the world. Documenta in Kassel is a survey of modern and contemporary art, established in 1955 by Arnold Bode as a means for reconnecting Germany with the most recent developments in the arts after Nazi obscurantism and censorship. The prestigious Venice Biennale is the oldest exhibition of its kind, founded in 1895. These forums greatly contributed to and informed the so-called ‘biennial model’. International in relevance and ambition a biennial unfolds and manifests periodically with the aim of ‘photographing’ the status of the arts at a specific moment in time and anticipating the trends of the future. It is in this model that the Liverpool Biennial originates.

The show introduces the viewer to this format by presenting two seminal photographic series – Hans Haacke’s 1959 photographs of Documenta 2 and Ugo Mulas’ images of the 1968 Venice Biennale.

Haacke was still an art student in Kassel at the time and worked on the installation of the exhibition. After the opening of the show he independently took on the task of visually ‘documenting Documenta’. The resulting 26 black and white images offer unique insight to the event.By looking at the dialogue between selected artworks, the space they inhabited, the way they are displayed and interact with the audiences, Haacke’s images speak not only about art per se, but comment on society as well as on the politics and power relations established by the actual exhibition. These photographs are rarely seen in the UK and represent, in Haacke’s view, one of his earliest accomplished artworks.

Similarly, Mulas started his career as a photographer by taking pictures of another important art platform. His first professional assignment was a photo-reportage of the 1954 Venice Biennale, an event that he went on photographing until 1972. It is consequently not very surprising that today Ugo Mulas is mostly known for his intense portraits of artists. Open Eye Gallery hosts the UK premiere of the photos Mulas took during the 1968 Venice Biennale: the ‘biennale of the revolution’. The selection on show is held in a private collection and has been curated by Mariachiara Di Trapani. The images document artists demonstrating against the establishment represented by the Venice Biennale and poetically illustrate this intense period of political turmoil and social uprising. The banners held in protest read: The “policed” and “militarised Biennale of the bourgeoisie”.

As the preparations for the UK Biennial are underway, Cristina De Middelreinterprets the history of the Liverpool Biennial, imagining its possible future developments by means of a new commission. Spanish-born and London-based De Middel is well known for challenging photography as a medium by questioning the ‘truth’ and ‘veracity’ expressed by images. She came to prominence with the series The Afronauts, a fictional account of the 1964 Zambian space programme that, due to the lack of funding, never came to its full realisation (the artist herself has never been to Zambia).

Likewise, another Spanish artist, Ira Lombardía, infiltrated the legacy of the most recent Documenta, held in Kassel under the artistic directorship of Carolyn Christov-Bakargiev and unfolded over the summer of 2012. After a visit to this exhibition, Lombardía included a fictional artist in their exhibition catalogue whose work was created by chance. During the time she spent in Kassel, the artist experienced an ‘epiphany’, the sudden manifestation of an artwork purely created by light inside the Fridericianum (the exhibition’s main venue). The piece on show at Open Eye Gallery follows the artist’s philological, yet entirely fictional, playful recreation of the history behind such a metaphysical and unexpected manifestation.

Download the gallery guide HERE.

Download the audio guide ahead of your visit HERE.

Watch video interviews with Ira Lombardía and Cristina De Middel HERE.

Not All Documents Are Records represents Open Eye Gallery’s contribution to the Liverpool Biennial 2014. The exhibition, curated by Lorenzo Fusi, looks at three key international visual art platforms through the lens of photography, moving between the past and future. The main theoretical question underpinning the project is: “Can photography be the site where the history of an exhibition is produced and still retain its independent artistic autonomy, thus overcoming pure documentation?”

The exhibition starts its journey from two of the most important art events in the world. Documenta in Kassel is a survey of modern and contemporary art, established in 1955 by Arnold Bode as a means for reconnecting Germany with the most recent developments in the arts after Nazi obscurantism and censorship. The prestigious Venice Biennale is the oldest exhibition of its kind, founded in 1895. These forums greatly contributed to and informed the so-called ‘biennial model’. International in relevance and ambition a biennial unfolds and manifests periodically with the aim of ‘photographing’ the status of the arts at a specific moment in time and anticipating the trends of the future. It is in this model that the Liverpool Biennial originates.

The show introduces the viewer to this format by presenting two seminal photographic series – Hans Haacke’s 1959 photographs of Documenta 2 and Ugo Mulas’ images of the 1968 Venice Biennale.

Haacke was still an art student in Kassel at the time and worked on the installation of the exhibition. After the opening of the show he independently took on the task of visually ‘documenting Documenta’. The resulting 26 black and white images offer unique insight to the event.By looking at the dialogue between selected artworks, the space they inhabited, the way they are displayed and interact with the audiences, Haacke’s images speak not only about art per se, but comment on society as well as on the politics and power relations established by the actual exhibition. These photographs are rarely seen in the UK and represent, in Haacke’s view, one of his earliest accomplished artworks.

Similarly, Mulas started his career as a photographer by taking pictures of another important art platform. His first professional assignment was a photo-reportage of the 1954 Venice Biennale, an event that he went on photographing until 1972. It is consequently not very surprising that today Ugo Mulas is mostly known for his intense portraits of artists. Open Eye Gallery hosts the UK premiere of the photos Mulas took during the 1968 Venice Biennale: the ‘biennale of the revolution’. The selection on show is held in a private collection and has been curated by Mariachiara Di Trapani. The images document artists demonstrating against the establishment represented by the Venice Biennale and poetically illustrate this intense period of political turmoil and social uprising. The banners held in protest read: The “policed” and “militarised Biennale of the bourgeoisie”.

As the preparations for the UK Biennial are underway, Cristina De Middelreinterprets the history of the Liverpool Biennial, imagining its possible future developments by means of a new commission. Spanish-born and London-based De Middel is well known for challenging photography as a medium by questioning the ‘truth’ and ‘veracity’ expressed by images. She came to prominence with the series The Afronauts, a fictional account of the 1964 Zambian space programme that, due to the lack of funding, never came to its full realisation (the artist herself has never been to Zambia).

Likewise, another Spanish artist, Ira Lombardía, infiltrated the legacy of the most recent Documenta, held in Kassel under the artistic directorship of Carolyn Christov-Bakargiev and unfolded over the summer of 2012. After a visit to this exhibition, Lombardía included a fictional artist in their exhibition catalogue whose work was created by chance. During the time she spent in Kassel, the artist experienced an ‘epiphany’, the sudden manifestation of an artwork purely created by light inside the Fridericianum (the exhibition’s main venue). The piece on show at Open Eye Gallery follows the artist’s philological, yet entirely fictional, playful recreation of the history behind such a metaphysical and unexpected manifestation.

Download the gallery guide HERE.

Download the audio guide ahead of your visit HERE.

Watch video interviews with Ira Lombardía and Cristina De Middel HERE.

Get involved:
Volunteering

Find out more
Receive email updates
Enter email here and press enter

OPEN EYE GALLERY VIDEO CHANNEL

OPEN EYE GALLERY ON INSTAGRAM

FOLLOW