Art Turning Left – Tate Liverpool

Jaques Louis David - La Mort de Marat

This is a multifaceted exhibition that examines how the production and reception of art has been influenced by left wing values.

To wander the rooms and take in works such as Jacques-Louis David – The Death of Marat 1793-4 alongside interactive pieces such as Ruth Ewan’s A Jukebox of People Trying to Change the World 2003 (which documents literally every protest song known to man and makes them available for selection…) and David Medalla’s A Stitch in Time 1968 – 72 (which invites you to stitch whatever you wish on to the work while it’s on display)..finds you immersed in a world of counter information, attempts to strip art of elitism and the deliberate anonymity and freedom collaborative artistic endeavors bring.

Taking in 275 works across 7 rooms; this is an impressive exhibition which sets out a project that LJMU PhD student Lynn Wray originally conceived and one which sees the Tate entering a new way in which it presents work within its hallowed walls. This new way seeks to link concurrent strands and themes across the floors of the Tate Liverpool’s white cube space. This is the first exhibition that realises this vision set out by  Francesco Manacorda, artistic director of Tate Liverpool and is deftly executed with the assistance of Eleanor Clayton and the Tate team.

T12328 Coke

The themes: Art by the people for the people, activist art and political messages within the works and the aim of removing the notion that art is only for the elite are discussed throughout the exhibition. Questions adorn the walls, Do we need to know who makes art? Can art infiltrate everyday lifeCan art effect everyone?

While Art is unquestionably all around us, the exhibition looks at how artists engage with us and the attempt to step away from the gallery context and use more ‘everyday’ situations to reach a wider audience. For me it is evident in this exhibition that some of the best art is conceived when a passionate belief is used as the catalyst.

P78788 Guerrilla Girls - [no title] 1985-90This exhibition has so many works that deserve to be lingered over and digested,we  recommend that you-

 a) view with friends, because this exhibition invites discourse.

 b) make sure you set aside half a day to take in all the floors and enjoy the Tate as a  whole…

For me the ‘conversation’ continued long after I’d had left the building…This exhibition delves deep and invites the participant to question their views on how art is produced and perceived and then even goes on to challenge notions held by those who are well versed in art history.

At the heart of the Art Turning Left is The Office of Useful Art Tate Liverpools contribution to a long term project that explores the usefulness of art. The office has an open booking system allowing visitors, local groups and societies the chance to host talks, activities, debates and discussions. Staffing the office are students from LJMU’s School of Art and Design who will engage the visitors in discussion about the ethos of The Office.

Situated on the ground floor  and programmed in parallel with Art Turning Left is – Palle Nielsen: The Model – A model for a Qualitative Society which documents the utopian project that attempted to create a new form of social interaction by transforming the large exhibition space in Stockholm’s Moderna Museet into a free adventure playground for children in 1968.

tate

20.000 children took part over the course of the ‘experiment’ using the various climbing ropes, rubber foam diving pools, carnival masks, LP’s and turntables (the soundtrack is perfect…Bob Dylan The Times They Are a-Changin’…English Music for Harpsicord, The Zodiac, Cosmic Sounds)  the children simply ran amok…it remains one of the most ambitious and experimental forms of cultural expression and analysis to date… but is still a relatively unknown episode in the history of radical art.

This is a must see and sets the scene for the rest of the exhibits throughout….

It seems apt that the Art Turning Left is being hosted in Liverpool given its subject matter, as Ken Loach recently stated, ‘If there was a revolution it would start in Liverpool’

For me it seems like a new dawn for Tate Liverpool and I look forward to future exhibitions overseen by Francesco Manacorda and his team.

Art Turning Left runs from 8 November 2013 –  2 February 2014

for more info visit here

Until Such Time – The ‘Eye

Eye to Eye #10 DEATHROWRADIO

DRR

We only came across these guys recently on 6 music and to be honest we are quite ashamed of the fact. Obviously we are not slagging off 6 music but the fact we have only just discovered DRR leaves us feeling somewhat lacking when we pride ourselves on our musical knowledge… That said its a delight to discover a band that have been recording for 10 years or so and you can dive headlong into their back catalogue…
DEATHROWRADIO used to go out under d_rradio and their sound differs to that which they are putting out at the moment… We will let you have a delve and discover the difference…

deathrowradio is Chris Tate and Paul Christian Patterson and they kindly answered a few questions for us…

TLE: What are you listening to at the moment?

Paul: From Monument To Masses, Human Don’t Be Angry, Mogwai – ‘Les Revenants’.

Chris: Laura Nyro, Paul Pena, WAR.

TLE: What’s the most Rock and Roll situation the band have found themselves in?

Paul: Playing at the Paradiso, Amsterdam in early 2007.

Chris:don’t know how Rock and Roll this is, but it was a huge thrill when John Peel first played us on the radio and then invited us to play a Peel session. Sadly he died before we could record it, which was inconsiderate of him.

TLE: What’s been your favourite gig so far?

Paul: Truck festival nine, in summer 2006.

Chris: For me it was probably the gig Paul mentioned in the last question, at the Paradiso. That’s where we met Lianne Hall, and that was powerful in so many ways.

TLE: How do you describe your sound?

Paul: Forever changing and hopefully progressing.

Chris: To be honest, we usually try not to describe it.

TLE: How long have you known each other and how did you meet?

Paul: We met around 1995, possibly at Chris’ birthday party. Or maybe it was shortly before that, in one of the houses we shared with friends.

Chris: We had quite a large group of mutual friends, all pretty much living between two houses. There were lots of parties, lots of music and not much sleep.

TLE: How has your music evolved since you started playing together?

Paul: Our music evolves as we do, we just try to keep improving and keep doing the best we can.

Chris: Our plan was always to evolve and change our sound, to change direction entirely every so often. We like to throw it all on it’s head, just because we can. We always loved it when artists change the style of their music, but the music maintains a recognisable certain something.

TLE: What are your rehearsals generally like?

Paul: Good fun!

Chris: Definitely good fun, although these days they’re also pretty focused. We try to make the most of it because we know how hard it is not having a space in which to rehearse. But it’s great fun, constructive fun.

TLE: What is the ultimate direction for the band?

Chris: Forwards.

Paul: To continue making music and hopefully making people feel good.

TLE: How do you write your songs?

Chris: It depends on the style, it’s nearly always different for each album. Every time we change style, we learn or invent a set of entirely new skills and take a new approach.

Paul: We start with a basic musical idea; a riff, a melody or a chord sequence, and then allow the songs to take shape around that.

TLE: What do you think the music reflects about you as people, or is it pure escapism?

Chris: We try to always remember the beautiful feeling of hearing music which really moves us, and we try to put some of that into what we do. So our music hopefully reflects our love of the escapism that beautiful music can provide, and the way music can soundtrack certain times. That was always a big part of our plan, and that’s partly why we’re called deathrowradio.

TLE: What’s the hardest aspect of being in a band?

Chris: Lack of funds, without a doubt. I’m concerned that young people in this country with original, vibrant ideas won’t be able to fully realise them in the future, if things keep going the way they are. If creative people aren’t lucky enough to have money and their artistic ideas don’t fit with what MPs consider to be commercially viable, they won’t be nurtured the way they should be, especially if those ideas are even slightly far out. True art has nothing to do with making money, but the UK government think art should only be made with financial profit in mind, and they’re taking steps to make that the norm. Having said that, the best art often comes from having something to kick against, so something very culturally exciting could be just around the corner. I hope so.

TLE: What’s the one rule that must remain unbroken?

Chris: Never kill anybody.

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