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Mccoy Wynne to exhibit at COP26 Universities’ Innovation Showcase

18 October 2021

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Holding Time: Launch Event

19 November 2021

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The Mutual Respect Manifesto by Glow Creative Learning

25 October 2021

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Joseph Lee: Mindful Photo Workshop

4 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

25 November 2021

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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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Today, Tomorrow and Somewhere in between

11 November 2021

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One Day at a Time Boys: Introductory talk and workshop

6 November 2021

Exhibitions

DIGITAL WINDOW GALLERY: CROSSING SECTORS

30 September - 7 November 2021

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Just Between Friends: Runcorn Public Realm

30 September - 12 December 2021

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LATE NIGHT OPENING: COLLECTIVE MATTERS

15 October 2021

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Collective Matters: Meet and Greet

22 October 2021

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Holding the Baby: Banner making workshop

16 October 2021

Exhibitions

Digital Window Gallery: Tabitha Jussa

17 September - 6 November 2021

Main Exhibition

Collective Matters

1 October - 12 December 2021

Exhibitions

Polly Braden: Holding The Baby

30 September - 31 October 2021

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Open Rooms #16: Agency of Women

23 September 2021

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PLATFORM ISSUE 04: CROSSROADS

10 September 2021

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Digital Window Gallery: Our Lands

23 August - 19 September 2021

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Imagining Disaster: Essay Series

30 August 2021

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Rivers of the World

6 September 2021

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Open Rooms #15: Common Ground

8 September 2021

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Instagram Residency: Danielle Brathwaite-Shirley

30 August - 5 September 2021

Past Events

PLATFORM: Issue 4 Launch Party

10 September 2021

Past Events

Imagining Disaster: Contemporary Art X Science Fiction

2 September 2021

Past Events

Launch Party: One Day At A Time

19 August 2021

Past Events

Open Eye Gallery book club presents: Bila Yarrudhanggalangdhuray

9 September 2021

Past Exhibitions

Sam Batley: ONE DAY AT A TIME

18 August - 19 September 2021

Exhibitions

VR: Wirral Hospitals’ School and MaxLiteracy Award

10 June - 3 September 2021

Past Exhibitions

Return To Nature

30 July 2021

Exhibitions Past Exhibitions

VR: First Light New Northern Graduates Exhibition

22 May - 4 July 2021

Past Exhibitions

We Are Nature

30 July - 14 August 2021

Exhibitions

Liverpool Arab Arts Festival — Jessica El Mal: Grounds For Concern

16 July - 15 August 2021

Exhibitions

Digital Window Gallery: Who We Are

8 July - 31 July 2021

Past Exhibitions

Whose Land Is It?

8 July - 19 September 2021

Exhibitions

VR Student Exhibitions: UCEN

9 June - 13 June 2021

Exhibitions

VR Student Exhibitions: Youth Culture by Whitby High School

23 June - 27 June 2021

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VR Student Exhibitions: Arc with Hugh Baird

16 June - 20 June 2021

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First Light: Photography Writing Now – Tilt Launch Party

9 July 2021

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OPEN ROOMS #14: Separated Together

24 June 2021

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Student Exhibitions: Whitby High School

23 June - 27 June 2021

Exhibitions Past Exhibitions

Student Exhibitions: UCEN

9 June - 13 June 2021

Exhibitions Past Exhibitions

Student Exhibitions: Arc

16 June - 20 June 2021

Exhibitions Past Exhibitions

Digital Window Gallery: HOMETOWNS

10 June 2021

Exhibitions Main Exhibition

Digital Window Gallery: Postcards from us x

10 June - 20 June 2021

LightNight 2021: Play

21 May 2021

Heavy Gardening Art Trail Photowalk

21 May 2021

OPEN ROOMS #13: A BALKAN JOURNEY WITH CHRIS LESLIE

17 June 2021

Exhibitions Past Exhibitions

First Light New Northern Graduates Exhibition

22 May 2021

Past Events

Open Eye Gallery book club presents: Homegoing by Yaa Gyasi

3 June 2021

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VISUAL RIGHTS

16 January - 22 March 2020

16  Jan – 22 Mar

How do we visualise power? What does it look like, and for whom is it visible? Launching on 16th January 2020, Open Eye Gallery’s new exhibition Visual Rights looks at how images can expose uneven distributions of power, and shape the way we understand a place’s geography.

From early attempts at mapping the world, to modern satellite imagery, territories – and people’s right to inhabit them – have continually been established and redrawn, contested or removed. This process often becomes concentrated in areas of conflict and geographical contest: in recent history, this has included Ireland, Kashmir and Ukraine. Curated by Gary Bratchford, a photographer and sociologist, Visual Rights presents work from artists in Israel, Palestine and the UK to examine this process.

Visual Rights brings together different methods of revealing how power subtly operates and affects the fabric of everyday life. The perspectives include surveying underground water pipelines that allow non-native plant life to flourish, photographing areas that have their electricity supply cut off at night, and the view from drones — a view that has become synonymous with modern conflict.

Tarek Al-Ghoussein was born in Kuwait. Despite having Palestinian parents, he is unable to visit the country. His works show fading barriers and lines drawn in the desert, many of which feature a green mesh material used to mark out the land. For Tarek, these barriers in the desert refer to the ‘Green Line’, a border established in 1967 to mark out the border between Israel and Palestine. Throughout the years, this border has been contested, crossed and pushed back.

In Garden State, UK artist Corinne Silva considers how gardening, like mapping, is a way of dividing and allocating territory. Over three years Silva travelled across Israel/Palestine, making photographs of public and private gardens in twenty-two Israeli housing settlements. The clusters of images in the wall installation plot out the suburban gardens spreading from the Mediterranean Sea to the River Jordan that each contribute to the reshaping and renaming of these contested lands. The viewer is left to imagine what lies beneath and between.

Yazan Khalili lives and works in and out of Palestine. His work uncovers the power dynamics and hidden politics at play within technology, landscape and institutions. His background in architecture allows him to look at landscape in a critical manner, deconstructing colonial visual discourse around Palestinian landscape. In 2002, he became stuck in the town of Birzeit for several weeks due to restrictions on his movement from Israeli government curfews. During this time, the town experienced power cuts, throwing the area into darkness and highlighting the towns across the border in the distance that still have power: Khalili captures these dark landscapes using long-exposure photography, naming each image after the camera settings used to achieve it.

In most places, aerial photography is available to the public at a resolution of 0.5m2/pixel, through technologies such as Google Earth. In the area around the state of Israel, however, the resolution is restricted to 2.5m2/pixel — a deliberate blurring of the territory. This makes it difficult to document the land, and recognise changes over time. Miki Kratsman and Shabtai Pinchevsky’s Anti-Mapping is an ongoing project to make these geographies more visible, creating high-resolution documentation of the landscape as alternatives to the maps presented by the establishment.

Hagit Keysar’s Restricted Zone: Temple Mount, co-created with Barak Brinker, tests technological and civilian restrictions over the aerial space in Jerusalem. A no-fly zone (NFZ) surrounds Temple Mount, or al-Aqsa, a site that has become the heart of a religious and political conflict. A technological barrier (geofence) coded into the flight interface of drones manufactured by the company DJI, prevents them from taking off or passing through the area. The material existence of this restricted zone is revealed through making its invisible boundaries seen — by flying a drone equipped with a camera around its perimeter. In doing so, Keysar and co-creator Barak Brinker reveal invisible walls, exposing how political, theological and technological power systems overlap and reinforce each other.

Another project by Hagit Keysar, A Civic View From Above, also takes to the skies to examine power struggles on the ground. Keysar collaboratively uses a technique of ‘Do-It-Yourself aerial photography,’ originally developed by the US-based open source community Public Lab for environmental health and justice investigations. Using a camera attached to a kite or balloon, she works with local activists and communities to gain a birds’-eye view of contested spaces. In doing so, she is able to deploy aerial photography as a human rights testimony against urban planning interventions that many find to be disruptive.

Visual Rights is produced and curated by Gary Bratchford and Open Eye Gallery. It opens with a free public launch night on January 16th, 6-8PM. The exhibition is open until March 22nd, from Tuesday-Sunday, 10-5. Entrance to Open Eye Gallery is free, and all are welcome, always. Open Eye Gallery is supported by Arts Council England, Liverpool City Council, and Paul Hamlyn Foundation. Further support for this exhibition comes from UCLAN.

 

Image: Hagit Keysar, Barak Brinker, Animation by Moshe Zilbernagel

16  Jan – 22 Mar

How do we visualise power? What does it look like, and for whom is it visible? Launching on 16th January 2020, Open Eye Gallery’s new exhibition Visual Rights looks at how images can expose uneven distributions of power, and shape the way we understand a place’s geography.

From early attempts at mapping the world, to modern satellite imagery, territories – and people’s right to inhabit them – have continually been established and redrawn, contested or removed. This process often becomes concentrated in areas of conflict and geographical contest: in recent history, this has included Ireland, Kashmir and Ukraine. Curated by Gary Bratchford, a photographer and sociologist, Visual Rights presents work from artists in Israel, Palestine and the UK to examine this process.

Visual Rights brings together different methods of revealing how power subtly operates and affects the fabric of everyday life. The perspectives include surveying underground water pipelines that allow non-native plant life to flourish, photographing areas that have their electricity supply cut off at night, and the view from drones — a view that has become synonymous with modern conflict.

Tarek Al-Ghoussein was born in Kuwait. Despite having Palestinian parents, he is unable to visit the country. His works show fading barriers and lines drawn in the desert, many of which feature a green mesh material used to mark out the land. For Tarek, these barriers in the desert refer to the ‘Green Line’, a border established in 1967 to mark out the border between Israel and Palestine. Throughout the years, this border has been contested, crossed and pushed back.

In Garden State, UK artist Corinne Silva considers how gardening, like mapping, is a way of dividing and allocating territory. Over three years Silva travelled across Israel/Palestine, making photographs of public and private gardens in twenty-two Israeli housing settlements. The clusters of images in the wall installation plot out the suburban gardens spreading from the Mediterranean Sea to the River Jordan that each contribute to the reshaping and renaming of these contested lands. The viewer is left to imagine what lies beneath and between.

Yazan Khalili lives and works in and out of Palestine. His work uncovers the power dynamics and hidden politics at play within technology, landscape and institutions. His background in architecture allows him to look at landscape in a critical manner, deconstructing colonial visual discourse around Palestinian landscape. In 2002, he became stuck in the town of Birzeit for several weeks due to restrictions on his movement from Israeli government curfews. During this time, the town experienced power cuts, throwing the area into darkness and highlighting the towns across the border in the distance that still have power: Khalili captures these dark landscapes using long-exposure photography, naming each image after the camera settings used to achieve it.

In most places, aerial photography is available to the public at a resolution of 0.5m2/pixel, through technologies such as Google Earth. In the area around the state of Israel, however, the resolution is restricted to 2.5m2/pixel — a deliberate blurring of the territory. This makes it difficult to document the land, and recognise changes over time. Miki Kratsman and Shabtai Pinchevsky’s Anti-Mapping is an ongoing project to make these geographies more visible, creating high-resolution documentation of the landscape as alternatives to the maps presented by the establishment.

Hagit Keysar’s Restricted Zone: Temple Mount, co-created with Barak Brinker, tests technological and civilian restrictions over the aerial space in Jerusalem. A no-fly zone (NFZ) surrounds Temple Mount, or al-Aqsa, a site that has become the heart of a religious and political conflict. A technological barrier (geofence) coded into the flight interface of drones manufactured by the company DJI, prevents them from taking off or passing through the area. The material existence of this restricted zone is revealed through making its invisible boundaries seen — by flying a drone equipped with a camera around its perimeter. In doing so, Keysar and co-creator Barak Brinker reveal invisible walls, exposing how political, theological and technological power systems overlap and reinforce each other.

Another project by Hagit Keysar, A Civic View From Above, also takes to the skies to examine power struggles on the ground. Keysar collaboratively uses a technique of ‘Do-It-Yourself aerial photography,’ originally developed by the US-based open source community Public Lab for environmental health and justice investigations. Using a camera attached to a kite or balloon, she works with local activists and communities to gain a birds’-eye view of contested spaces. In doing so, she is able to deploy aerial photography as a human rights testimony against urban planning interventions that many find to be disruptive.

Visual Rights is produced and curated by Gary Bratchford and Open Eye Gallery. It opens with a free public launch night on January 16th, 6-8PM. The exhibition is open until March 22nd, from Tuesday-Sunday, 10-5. Entrance to Open Eye Gallery is free, and all are welcome, always. Open Eye Gallery is supported by Arts Council England, Liverpool City Council, and Paul Hamlyn Foundation. Further support for this exhibition comes from UCLAN.

 

Image: Hagit Keysar, Barak Brinker, Animation by Moshe Zilbernagel

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