Events

Launching LOOK Photo Biennial 2024: Beyond Sight

27 June 2024

Coming Soon. LOOK Photo Biennial 2024: Beyond Sight

28 June - 1 September 2024

Exhibitions

Through Our Eyes @ Digital Window Gallery

12 June - 16 June 2024

Past Events

FIRE IT UP FUND FUNDEES ANNOUNCED

13 June 2024

In View

12 June - 16 June 2024

Past Events

LAF X OPEN EYE GALLERY: PHOTOGRAPHY COMPETITION LAUNCH

4 June 2024

Exhibitions

Home Tour @ Rochdale

6 June - 12 July 2024

Events

Photography Workshop: Birkenhead

30 June 2024

Events

Photography Workshop: St Helens

23 June 2024

Events

Photography Workshop: Runcorn

16 June 2024

Past Events

Photography Workshop: Liverpool City Centre

15 June 2024

Past Events

Photography Workshop: Bootle

9 June 2024

Past Events

Photography Workshop: Huyton

1 June 2024

Exhibitions

Everyone is Moving – Your Journeys, Your Neighbourhoods @ Atrium Space

4 June - 30 June 2024

Events

European Poetry Festival : Liverpool Camarade

6 July 2024

Bonds / Ripples

29 May - 9 June 2024

Past Events

Webinar: Socially Engaged Photography

22 May 2024

Exhibitions

JOURNEY TO EDEN @ DIGITAL WINDOW GALLERY

6 May - 12 May 2024

Past Events

MARRIAGE (IN)EQUALITY IN UKRAINE. Screening and a panel discussion

9 May 2024

Past Events

Casey Orr artist talk and SEPN North West meet-up

18 May 2024

Past Events

Poetry reading: Coast to Coast to Coast

11 May 2024

Exhibitions

National Pavilion of Ukraine @ Venice Biennale

20 April - 24 November 2024

Exhibitions

Open Source 28: Sam Patton – Room to Breathe @ Digital Window Gallery

10 April - 18 May 2024

Exhibitions

Forward, Together @ Wigan & Leigh Archives, Leigh Town Hall

23 March - 28 September 2024

Exhibitions

As She Likes It: Christine Beckett @ The Rainbow Tea Rooms, Chester

1 March - 30 June 2024

Exhibitions

Shifting Horizons @ Digital Window Gallery

27 March - 31 March 2024

PLATFORM: ISSUE 6

26 March 2024

Past Events

Saturday Town: Launch Event

10 April 2024

Exhibitions

Saturday Town

11 April - 19 May 2024

Past Events

PLATFORM: ZINE LAUNCH EVENT

21 March 2024

Home. Ukrainian Photography, UK Words: Tour

4 March - 28 February 2025

Exhibitions

Home: Ukrainian Photography, UK Words @ New Adelphi

4 March - 8 March 2024

Past Events

CREATIVE SOCIAL: IN THE ABSENCE OF FORMAL GROUND

2 March 2024

Exhibitions

We Feed The UK @ Exterior Walls

8 February - 31 March 2024

Past Events

Contrail Cirrus: the impact of aviation on climate change

7 March 2024

Exhibitions

Tree Story @ Liverpool ONE

16 February - 30 June 2024

Open Source #27: Saffron Lily – In The Absence of Formal Ground @ Digital Window Gallery

6 February - 31 March 2024

Past Events

Contemporary Photography from Ukraine: Symposium @University of Salford

4 March - 5 March 2024

Past Events

Is Anybody Listening? Symposium: Commissioning and Collecting Socially Engaged Photography

29 February 2024

Past Events

Different approaches: Artists working with scientists

15 February 2024

Past Events

LOOK Climate Lab 2024: All Events

18 January 2024

Exhibitions

Diesel & Dust @ Digital Window Gallery

18 January - 31 March 2024

Past Events

Tree Walks Of Sefton Park with Andrea Ku

21 January 2024

Past Events

Artists Remake the World by Vid Simoniti: Book Launch

31 January 2024

Past Events

Shift Liverpool Open Meeting

6 February 2024

Past Events

We Feed The UK Launch and LOOK Climate Lab 2024 Celebration

8 February 2024

Past Events

End of Empire: artist talk and discussion

22 February 2024

Past Events

Cyanotype workshop with Melanie King

17 February 2024

Past Events

Book Launch: What The Mine Gives, The Mine Takes

24 February 2024

Past Events

Local ecology in the post-industrial era: open discussion

14 March 2024

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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.

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