Events

OPEN ROOMS #14: Separated Together

24 June 2021

Exhibitions

Student Exhibitions: Whitby High School

23 June - 27 June 2021

Exhibitions

Student Exhibitions: UCEN

9 June - 13 June 2021

Exhibitions Main Exhibition

Student Exhibitions: Arc

16 June - 20 June 2021

Exhibitions

Digital Window Gallery: HOMETOWNS

10 June 2021

Exhibitions Main Exhibition

Digital Window Gallery: Postcards from us x

10 June - 20 June 2021

Events

OPEN ROOMS #13: A BALKAN JOURNEY WITH CHRIS LESLIE

17 June 2021

Exhibitions

First Light New Northern Graduates Exhibition

22 May 2021

Events

First Light Spotlight: Interior Tension

22 June 2021

Events

First Light Spotlight: Networked Beings

8 June 2021

Past Events

Open Eye Gallery book club presents: Homegoing by Yaa Gyasi

3 June 2021

Past Events

First Light Spotlight: Things Are Strange

25 May 2021

Past Events

OPEN ROOMS #12: INDEPENDENTS BIENNIAL

6 May 2021

Exhibitions Past Exhibitions

Liverpool Biennial 2021: The Stomach and the Port

19 May - 6 June 2021

Picturing England’s High Streets: Prescot

7 April 2021

Picturing England’s High Street: Chester

7 April 2021

Exhibitions

Reclaim The City: Suzanne St Clare

8 April 2021

Past Events

First Light Spotlight: Parallel Histories

11 May 2021

Past Events

First Light Spotlight: After Nature

27 April 2021

Past Events

First Light Spotlight: Unearthly Matter

13 April 2021

Exhibitions

Hanging out: Interviews

23 March - 5 April 2021

Exhibitions

Digital Window Gallery: Independents Biennial

18 March - 6 June 2021

Past Events

First Light Spotlight: Corrupted Archives

30 March 2021

Past Events

First Light Spotlight – Connecting new photography with writing

16 March 2021

Past Events

OPEN ROOMS #11: ON THE CORNERS OF ARGYLE AND GLENWOOD – PHOTOBOOK IN COLLABORATION

11 March 2021

Freelance Photographer in Residence Position

23 February 2021

Family Page

23 February 2021

About Alternative Lens

23 February 2021

Projects

Introducing Energy House

23 February 2021

Past Events

Open Rooms #10: All Dressed Up With Nowhere To Go

25 February 2021

The Course

12 February 2021

Past Events

PLATFORM ISSUE 3: HOPE

12 February 2021

Events

OPEN CALL: THE STORY OF LIVERPOOL THROUGH ITS TREES

1 January - 30 April 2021

Events

OPEN CALL: HOMETOWNS

11 February - 31 March 2021

Past Events

WHAT WE DO IN LOCKDOWN

5 January 2021

HYPERTEXT: Books Beyond Bars – Felix McNulty in conversation with Sarah Jane Baker

28 November 2020

HYPERTEXT: Ruth White – The Role of the Photobook in Representing the British Working Classes

28 November 2020

HYPERTEXT: Yasmine Akim ‘Decolonise art schools & showcase the agency of marginalised people’

28 November 2020

HYPERTEXT: Jason Evans – Sound & Vision

28 November 2020

HYPERTEXT: ROOT-ed Zine – Our Experience of Navigating through Arts and Media as People of Colour

28 November 2020

HYPERTEXT: Present and Continuous Q&A with Liz Wewiora and the Many Hands Craft Collective

28 November 2020

HYPERTEXT: Rose Nordin of OOMK in conversation with Kerol Izwan of Musotrees

28 November 2020

HYPERTEXT: Jade Montserrat in conversation with Nikita Gill

28 November 2020

HYPERTEXT: Sam Hutchinson in conversation with Aram Sabbah of Skatepal

28 November 2020

Get Involved: The Story of Liverpool City Region Through Its Trees

24 November 2020

Past Events

Home Turf: Fans, Foodbanks and Photography

17 December 2020

Past Events

Scottie Press: Digital Residency

7 December - 11 December 2020

Past Events

Tell It Like It Is: Ian Clegg and Laura Robertson in Conversation

20 November 2020

Exhibitions

VR: L— A City Through Its People

5 November - 7 March 2020

Exhibitions Past Exhibitions

Peer to Peer HK/UK — Lee Wing Ki: Night Walk (an excerpt)

16 November - 30 November 2020

Close
Close

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
Join our newsletter