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13/9/2006

Greenland Street

Greenland Street, Liverpool

A Foundation launches Greenland Street, a major new contemporary art centre in Liverpool

Liverpool is undergoing massive regeneration in preparation for Capital of Culture 2008, and throught Greenland Street, A Foundation continues its lead role in the development of the city's art scene. Greenland Street consists of three enormous former industrial buildings in the heart of the old port, that have been transformed into 2500sq metres of high quality exhibition space. The Furnace, The Blade Factory and The Coach Shed, three dynamic architectural spaces that offer a venue for large scale experimental artists' project, ambitious new commissions, contemporary artists residency scheme and collaborations with other arts venues around the world.

The opening programme include:

Iain Forsyth and Jane Pollard
Silent Sound
15 September - 26 November 2006

Grizedale Arts
Virtual Grizedale
15 September - 26 November 2006

Office for Subversive Architecture
15 September - 17 December 2006

Bloomberg New Contemporaries 2006
15 September - 22 October 2006

Goshka Macuga
15 September - 26 November 2006


Iain Forsyth and Jane Pollard
Silent Sound

Forsyth and Pollard are collaborative visual artists who work with live art, film and video and are pioneers in establishing re-enactment as an artistic genre. Recent pieces have seen them re-making a video from 1973 by Vito Acconci, replacing Acconci with Plan B, a young MC signed to 679 Recordings, and updating the aesthetic to reflect contemporary urban music videos. Another recent video work, File Under Sacred Music is a re-make of the infamous bootleg of The Cramps performing at Napa State Mental Institute in 1978, made in association with the ICA and BBC.

Silent Sound is an ambitious new commission by Forsyth and Pollard and sees them joining forces with Jason Spaceman, the singer, guitarist and writer in Spiritualized and formerly Spaceman 3 who will write a new instrumental piece for the project. Silent Sound promises to be a ground-breaking collaboration, combining the performance strategies at the heart of Forsyth and Pollard's practice and Spaceman's progressive approach to making moving, expansive soundscapes.

Silent Sound is a potent hybrid of contemporary art, music and psychological experimentation and employs stylistics, languages and techniques from Victorian se'ance, Spiritualism and early 1970's performance. As with previous works by Forsyth and Pollard, it taps into the potential of music to communicate emotively, but in a move to resolve a more resonant and powerful impact, it will attempt to employ the audience's mind, imagination and beliefs as a site for the work. Silent Sound will invite audiences to open themselves up to the potential that the artists may be able to transmit meaning to them, without the intermediary of words, by repeatedly embedding a subliminal message within an instrumental composition. The piece will take place in three stages: an initial live performance to an invited audience in Liverpool and a subsequent audio/visual installation in The Blade Factory at Greenland Street. Forsyth and Pollard also plan to produce a limited edition DVD which documents the making and staging of the project.

Silent Sound performance
The Silent Sound performance will take place on Thursday 14th September at 8pm and places will be strictly limited. If you would like to register your interest in attending this ground breaking event, please email mailto:kerenzah@afoundation.org.uk

Commission supported by:
Arts Council North West, The Wellcome Trust and PRS Foundation for New Music

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Grizedale Arts
Virtual Grizedale

15 September - 26 November 2006

Grizedale Arts is a commissioning and residency agency based in Grizedale Forest in the heart of the Lake District. Their programme supports artists in making new works that relate to the context of the area and engages with local communities and events, integrating artists' thinking and communication into mainstream and traditional activities. This innovative way of producing and showing art is typified in Grizedale's annual events, which have, to date, launched artists projects and integrated a large body of works into a cohesive whole.

In response to Greenland Street's invitation to 'take up residence' in Liverpool, Grizedale Arts are planning to realise Virtual Grizedale which will offer the equivalent of a 'live' website drawing together a body of activity from three sites, Japan, Egremont and Liverpool itself. The main focus of the 'residency' will be to create a multimedia extravaganza, occupying parts of The Blade Factory and the surrounding streets with performances, musical events, projections, sound installations and radio broadcasts. Participating artists will include Lucienne Cole, Bedwyr Williams, Jesse Rae, Brian Dewan, Jen Lou, Olaf Breuning, Juneau Projects, Bryan Davies and Dan Robinson and others.

Grizedale Programme is available below or as a downloadable PDF.
http://afoundation.org.uk/UserFiles/File/Griezedale_events.pdf

All performances in and around the Blade Factory, Greenland Street, Liverpool L1 0BY

A programme of live performance and other stuff
MC Tim Hemmings, DJ Tim Olden, Visuals Jamie Goodenough

For details of all events please contact hilaryt@afoundation.org.uk
Or call 0151 706 0600 / 709 4180

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Office for Subversive Architecture

15 September - 17 December 2006

Greenland Street has invited Office for Subversive Architecture to develop the first of our annual architecture commissions which will inhabit the roof of The Blade Factory. OSA is a network of eight full time architects based in five different cities and three different countries. OSA is actively involved in developing projects that sit between art and architecture and recent projects have seen a focus on the reinterpretation of public space, on its use and how people interact with it. OSA also often collaborates with professionals from different disciplines, which enables their practice to expand to include ideas and influences from visual art, music, film, photographs and sculpture.

The structure which OSA (Karsten Huneck and Bernd Truempler) have proposed for Greenland Street is a playful, temporary intervention which draws on the industrial hertitage of the buildings and is designed to act as a beacon to draw people to the surrounding area. The structure also maximises the potential of the site which is the roof of the Blade Factory and has outstanding views of the Mersey and the City Centre. Greenland Street in collaboration with Liverpool Culture Company's Cities in Transition Programme have developed a series of talks and discussions which will be housed within the structure and will specifically look at the relationship between art and architecture. A full programme of events will be listed here at the end of May.

For more information about Office of Subversive Architecture
http://www.osa-online.net

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Bloomberg New Contemporaries 2006

14 September - 22 October 2006

Greenland Street is the Liverpool home of Bloomberg New Contemporaries and will host the 2006 exhibition. Bloomberg New Contemporaries 2006 is an unbeatable showcase of emerging artists' practice and has an international reputation for launching the careers of some of today's most well known practitioners.

The Coach Shed
The Coach Shed is a spectacular new project space acquired by the afoundation, for the Independent section of Liverpool Biennial

The annual exhibition, New Contemporaries, arrives out of an open submission by artists on the final undergraduate year at any British art school, current postgraduates, and those already a year out. The selectors this year, Angus Fairhurst, Paul Noble and Alison Wilding, all artists, have selected work by just 36 out of a submission by over 1,200 potential artists.

The integrity, quality, and continuing success of New Contemporaries lies, in part, in the fact that selectors, really do consider every image, proposal and mixture of the two, in a thoroughly drawn out marathon. This takes place in two stages, the fi rst over 5 consecutive days in a blacked-out space, and the second for a number of days where the short-listed work brought to one central space from across the country is further narrowed down and discussed. Works that persist, refuse to go, provoke arguments, disturb or reinforce, are by now quite familiar to the selectors and the resulting exhibition, brings a great range of subtle but exciting media and uses of imagery and intention.

This year’s show is characterised, in part by a use of print. A use of a familiar landscape stance in engraving reconvened into another series of images (Salvatore Arancio). The slightest visual recognition at a different end of the range of approach brings an unlikely relationship between engraving and advanced technology (Holly Antrum). A giant woodcut shows a number of donkeys who seem to roam forward, the detail of wood grain also shows through (Andrea Buttner).
What seems to be the mixture of an independent sculptural fl ow, or creep, across the fl oor, and an architectural model which is part Bedouin tent, science fi ction space station and contemporary military airport, has a low solemn effect (Dafni Barbageorgopoulou).

A totally touching and somewhat pure fi lm in the mould of 1960s British documentary tradition sympathetically considers the life, thoughts and existence of one man (Film for Tom by Stephen Connolly) while another work is simple and blunt in direction as a narrator talks of the questioning he suffers in a different ‘neighbourhood’ (Joshua Balgos).
Painting is strong, abstract and confi dently handled (Katherine Kicinski) and (Katy Moran). Much drawing, features in an exhibition that is never bombastic in atmosphere; the work is particular, touching, and even, at times, sensitive in scale. The smallest of items, the most delicate of objects, the hand-carved birthday candle which aspires to be a spiral staircase (Akiko and Masako Takizawa); the immaculately painted nail and stripped back record sleeve of Matthew Smith; the intricately detailed matchbox sculptures and reliefs of Sarah Bridgland.

First established in 1949, New Contemporaries plays a vital role in unearthing fresh talent. It offers an exhibition of exceptional vitality and promise, a unique insight into the variety of energies, ideas, potential and promise of the next generation of artists.

Bloomberg New Contemporaries 2006, launches as part of Liverpool Biennial 2006 in the Coach Shed at Greenland Street, the city’s new venue for contemporary art set up by Afoundation.

New Contemporaries remains a key partner of Liverpool Biennial.
A digital archive of the recent history of the annual show will be launched in the Autumn of 2006 to coincide with the London showing at Club Row Gallery, Rochelle School, Arnold Circus E2 7ES, November-January 2007.
Press images are available from the website http://www.newcontemporaries.org.uk

For information about New Contemporaries:
Bev Bytheway, 07785 706227, bevbytheway@yahoo.com
Studio I, Rochelle School, Arnold Circus, London E2 7ES

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Goshka Macuga

15 September - 26 November 2006

For the Furnace commission, Greenland Street has invited Goshka Macuga to realise her most ambitious installation to date. Macuga's practice explores the boundaries that define exhibition structures and seeks to put the categories of curator and gallery into a new relationship with each other by hosting the work of other artists within her own immersive environments. Her installations and displays question authorship and hierarchies of value inherent within 'High Art'. Artworks are often displayed alongside artefacts, souvenirs, mementos and scrap that she collects, finds, borrows and purchases.

For Greenland Street, Macuga working in collaboration with If-Untitled Architects will create an all encompassing environment based on set designs from the film The Cabinet of Dr Caligari. Directed in 1919 by Robert Wiene, the film is well know for the brilliance of its set design and set designer Hermann Warm enlisted Walter Reimann and Walter Roehrig, fellow members of Berlin's Der Sturm group, to act as art directors. They created the unprecedented look of the sets, costumes and makeup to reflect the mind of a madman and succeeded in embodying the aesthetic of the Expressionist movement.

Taking inspiration from the films set, Macuga's installation will utilise the dynamic architecture of the Furnace in order to create elevated walkways, a complex of corridors filled with display cabinets, rotating platforms, hidden rooms and anti-chambers, all of which will combine to create an abstracted and distorted landscape.Within this complex and intriging structure, she plans to curate a series of theatrical tableaux, performances and exhibitions of artworks, objects and curiosities many of which will be borrowed from local, regional and national museums.

Audiences will be invited to navigate on, in and around the installation and will be given the option to take a guided tour, where Gallery Assistants will lead groups of up to ten visitors through different journeys, imparting snipets of narrative, based on the immediate environment and the objects displayed within.

Commission supported by:
Arts Council North West, Arts Council London and The Henry Moore Foundation.

Image: The Furnace

For further press information or image please contact:
Lucy Wilson, Theresa Simon & Partners, 020 77344800, lucy@theresasimon.com

Greenland Street
67 Greenland Street Liverpool L1 OBY
Open Weds - Sunday 12-6pm. Late night Thursday until 8pm.
Admission is free.

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