Exhibitions

Home: Ukrainian Photography, UK Words @ New Adelphi

4 March - 8 March 2024

Events

CREATIVE SOCIAL: IN THE ABSENCE OF FORMAL GROUND

2 March 2024

Exhibitions

We Feed The UK @ Exterior Walls

8 February - 31 March 2024

Events

Contrail Cirrus: the impact of aviation on climate change

7 March 2024

Exhibitions

Tree Story @ Liverpool ONE

16 February 2024

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

6 February - 6 March 2024

Events

Contemporary Photography from Ukraine: Symposium @University of Salford

4 March - 5 March 2024

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

Events

LOOK Climate Lab 2024: All Events

18 January 2024

Exhibitions

Diesel & Dust @ Digital Window Gallery

18 January - 31 March 2024

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

Cyanotype workshop with Melanie King

17 February 2024

Past Events

End of Empire: artist talk and discussion

22 February 2024

Past Events

Book Launch: What The Mine Gives, The Mine Takes

24 February 2024

Events

Local ecology in the post-industrial era: open discussion

14 March 2024

Events

Plant a seed. Seed sow and in conversation with Plot2Plate

16 March 2024

Events

Waterlands: creative writing workshop

23 March 2024

Events

Erosion: panel discussion

9 March 2024

Events

Waterlands: an evening of poetry and photographs

23 March 2024

Events

Force For Nature Exhibition

27 March - 28 March 2024

Voices of Nature: Interactive Performances

28 March 2024

Past Events

Sum of All Parts: Symposium

27 February 2024

Exhibitions Main Exhibition

LOOK Climate Lab 2024

18 January - 31 March 2024

Past Events

MA Socially engaged photography Open Day event

1 February 2023

Past Events

Tish: Special screening and Q&A

13 December 2023

Past Events

Book Launch: A Look At A New Perspective

23 November 2023

Events

Community workshops @ Ellesmere Port Library

6 November - 5 February 2024

Past Events

Book Launch: ‘544m’ By Kevin Crooks

30 November 2023

Past Exhibitions

Bernice Mulenga @ Open Eye Gallery Atrium Space

17 November - 17 December 2023

Past Events

Bernice Mulenga: Artist Talk

18 November 2023

Past Exhibitions

Local Roots @ The Atkinson

14 October 2023

Exhibitions

Community @ Ellesmere Port Library

26 October - 11 April 2024

Past Events

Critique Surgery for Socially Engaged Photographers

6 November 2023

Past Events

Deeds Not Words: panel discussion

12 October 2023

Past Exhibitions

Deeds Not Words @ Atrium Space

3 October - 22 October 2023

Ode To Our Space @ Digital Window Gallery

29 September - 23 December 2023

A Look At A New Perspective @ Digital Window Gallery

29 September - 23 December 2023

Past Events

Book Launch: Crow Dark Dawn

19 October 2023

Past Events

Exhibition Launch: A Place of Our Own

28 September 2023

Reflections

12 September - 22 December 2023

Past Events

Sandra Suubi ‘Samba Gown’ Procession

9 September 2023

Exhibitions Future Exhibitions

A Place of Our Own

29 September - 22 December 2023

Past Events

POETRY BOOK LAUNCH: JACK BENNETT – LUNETTE

7 September 2023

Exhibitions

A Portrait of the High Street @ Prescot

31 August 2023

Projects Past Exhibitions

Our Home. Our Place. Our Space. @ Walton

16 August - 2 October 2023

Past Events

Poetry Reading: Coast to Coast to Coast’s sixth Birthday!

16 September 2023

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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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