Select
year for archived events ...
2006
Transvoyeur
Performance Art Platform 2006, Potting Shed Goes Psychic, Walk
the Plank Theatre Production Boat, In association with the Bluecoats,
Part of Independents Liverpool Biennial 2006, 10 November 2006.
Co-written by Jean-Paul Debuffet and Lucia Andrea Sweeney.
Saturday 12 November 2006.
Transvoyeur
artists performed at the ‘Cosmic Cabaret’ on Walk
the Plank Theatre Production Boat, Liverpool, England on Friday
10 November 2006. This live art programme was managed in collaboration
with Walk the Plank and Bluecoat Art Centre (Liverpool, England),
as part of the Independents Liverpool Biennial 2006 and in association
with the performance programme of the Liverpool Biennial 2006.
It was presented as ‘… a Cosmic Cabaret featuring
paranormal activity of a musical, magical, dancical, theatrical,
and mystical nature...’.
The artists from Transvoyeur included Agata Alcaniz, Jo Derbyshire,
George Lund, Tony Knox and Gaynor Evelyn Sweeney, as well as guest
artists participating, such as June Rose, Andrew Hodge and many
others.
Sweeney presented a performance called ‘Boudicca’s
PMT in the 21st Century’. This has previously been in Berlin,
London and Liverpool, 2005-2006. This live art is one that has
evolved with each rendition, reciprocal to the context of the
spatiality and urban culture. This opened with artist dressed
in white medical coat and a white mask reversed to the back of
her head. This produced a dual profile. Sweeney walked into the
audience and conscripted a male and female volunteers. She guided
each to sit either side of her on the stage and passed them sheet
of text. She introduced the text as ‘Athena Review Vol.
1, No. 1 from The Annals by Tacitus (AD110-120) Book X1V, which
describes the Rebellion of Boudicca (AD 60-61). This was a translation
from Latin to English describing the rise and fall of Boudicca.
She instructed the two volunteers to commence reading the ancient
text and to continue until the last page. The male and female
started to recite, at times in unison and others a cacophony of
words that conflicted when out of synchronisation. She draped
over the two figures a mass of gold chiffon. She then stood reversed,
with the white mask on the back of her head peering towards the
audience.
Dressed in white medical coat, she stood arms outstretched while
the rendition of the historical events of Boudicca was imparted
to the audience. She then turned and knelt to the ground. She
collected a mass of paper on the floor in front of her. On these
were printed biological diagram studies of the female’s
reproduction system. The artist folded layer by layer each sheet
to form paper aeroplanes, which she threw with vigour into in
to the air and audience. To reside back, composed and calmly fold
another.
She then on the adjacent side took from her side a palette and
pot of blue paint. She emptied the contents to the palette. She
disrobed from the medical coat and with two hands pressed to the
palette covered her palms in paint. She then applied this to her
whole body, working up the arms, across the breasts and down her
abdomen, stretching precariously to cover her back and finally
her legs.
During these actions, the male and female continued to read the
ancient text. Sweeney curled into a ball, stretched her arms forward,
head still down she clawed at the ground. As her hands draw close
to her body, she released a piercing and merciful scream. Several
times the shrilling lament was released from her lowered body.
The force of the energy expelled the affliction, grief and anguish
expressed in the text by the male and female read.
A woman, Boudicca, who is remembered in the canons of history
who led the Iceni rebellion against the Romans, after her husband,
Prasutagus, as king of the Iceni, died. The Romans went against
their word and Nero was ruling in Rome and the Britons were forced
to endure huge taxes, conscription and inhumane treatment at the
hands of Roman authorities. The peaceful treaty after Prasutagus
death was forgotten and for more wealth, the Romans invaded the
lands of the Iceni. Boudicca was flogged her daughters were raped.
The essence of a females strength is re-represented in the ideologies
in this text of 21st century constructs of gender politics. Sweeney
presented a captivating and poignant performance, as the female,
as the lover, the matriarch and femme fatale to avenge what was
lost. Her body painted blue similar to the Ancient Britons preparing
for war. George Lund, an associate artist of Transvoyeur, was
the male who volunteered in this live art by Sweeney and the female
was Sharlene Squires, a Play Writer.
Derbyshire conceived and directed a production with a group of
artists titled ‘Seasons – When the City Speaks’.
The performance opened with digital photographic stills projected
as a backdrop. These images are created by Andrew Hodge, a photographer,
whose collection of images are iconic of the city of Liverpool.
A performer, Sweeney seated on a chair. She commenced reading
a monologue. A text written by Derbyshire of her experiences of
the city of Liverpool combined with historical and popular culture
references. These structured into the ‘Seasons’ and
titled ‘When the City Speaks’. Some moments later
Derbyshire enters the scene carrying art materials, which she
spreads across the floor. A collection of paints, brushes and
so forth. She departs at each the orator states a seasons to return
with a canvas representative of each term and another artist enters
the scene adjacent to the placement of the canvas. These canvases
a combination of mixed media, painting and collage. Photographs
and text mixed with abstract and figurative representations.
These form the foundation of a visual dialogue cognitive to the
subject being read aloud. On conclusion of the monologue, Derbyshire
disappears from the scene and the four artists sat next to her
canvases start modifying the surface of each.
The reader invites members of the audience to come forward and
contribute to the seasons on the canvases. The artist, Derbyshire,
compares the seasons within the structure and semiotics of her
art formed by her experiences and lineage against the urban spatiality.
The idea of time and space is explored and as something has a
natural progression in evolution of a place, so too is that of
the human creatures intervention. The invitation for the audience
to contribute continues with this innate sequence by modifying
the spatiality of the canvas. An intervention of historical and
natural cause and effect and the linear concept of time by human
experience. The performance finalised with each member of the
audience interacting with the art and becoming part of the creative
seasons of each canvas. This piece was intrigued the audience
and the live art became a type of ‘happening’ in the
creative process.
This production is an organic piece that has evolved from previous
performances in Liverpool and London. The first explored at the
View Two Gallery, Liverpool, England, and then re-examination
in he socio-urban and cultural context of London. The project
evolved from Derbyshire examining Liverpool as a World in one
City through the seasons with a historical, personal and social
perspective. Through collage and performance, with an interior
monologue narrated by Sweeney, the audience were invited to participate
and add to the four collaged canvases Derbyshire had prepared
for the performance. Each canvas represented a season in the City,
with Derbyshire as the social historian examining Liverpool from
a personal perspective. The canvases themselves originally looked
like an enlarged page from a journal or a scrapbook where Derbyshire
references and archives what has happened over the last year.
Through each progressive stage the audience become part of the
visual dialogue in the series of canvases.
Knox and Alcaniz presented a new twist on the performance conceived
by Knox. The piece had evolved to include the collaboration of
Alcaniz to sing in Spanish the theme tune to the 1960s series
of Spider Man. The scene was set with Alcaniz, as the orator/singer
and projected on either side a digital short movie by Knox showing
asserted demise of ‘Moth Man’, a guise created by
Knox in earlier projects on the concept of the super hero in post
modern life. The Moth Man character moves through some woodland,
digs a whole and then disrobes to reveal the person underneath.
The items of the costume are then buried in this film.
Knox entered the scene through a back door from a shed between
the two projections. Alcaniz sat to the right towards the audience.
The performance involved Knox in normal attire, but the reverse
to the film transpires. He is in his normal clothing, but undresses
to show underneath not Moth Man, but a poorly made costume of
Spider Man. The unkempt nature of the Spider Man costume is something
reflective of this comic book hero in a child’s perceptions.
Knox posed in iconic super hero stance, synonymous with those
produced in comic books and through to the male gender form in
the canons of ancient sculpture. He then moved through the space,
mingled with the audience, and resided with in them to watch the
digital film of the interment of the Moth Man costume. During
these transitions in the performance by Knox, Alcaniz continues
to sing the theme tune in Spanish of Spiderman. Knox returns to
the stage from the audience and Alcaniz then changes her tone
and starts to insult this dishevelled Spider Man in Spanish with
explications of disbelief, “Ooh! La! La!”.
She stands from her chair and points to his stomach and genitals,
shaking her head in disapproval. The vilification of the character
departs the scene and the final stages of the digital video projection
conclude. During the performance, the audience exploded into a
rapture of whistles and applause at the undressing on the onset
of the performance to change taunts and jeers at Alcaniz’s
derogatory insinuations.
The modifications in Knox’s performance change the constructs
of the female inclusion and considers the roles of gender and
sexual politics to the societal precepts and conventions of masculinity
imbued in the hero.
The evening of events and performance at the Cosmic Cabaret of
the Potting Shed was a fusion of conceptual performances through
to theatrical, dramatized and musical recitals. It was an eclectic
mix of different forms of live art. Other artists to this event
included Mandy LaRomero, Jo Docherty, The Gang with Dorrie Halliday,
Lisa Wrigley and many others.
The platform presented the artists of Transvoyeur and others the
opportunity to present art of an alternative nature and expand
on the philosophies of the Transvoyeur artists in their practice
to examine and explore socio-cultural parameters and cognative
in ethos of ‘Cabaret Voltaire’ (The Cabaret exhibited
radically experimental artists, many of whom went on to change
the face of their artistic disciplines; featured artists included
Kandinsky, Klee, de Chirico and Ernst … Cabaret Voltaire.
Under this name a group of young artists and writers has been
formed whose aim is to create a centre for artistic entertainment
… The idea of the cabaret will be that guest artists will
come and give musical performances and readings at the daily meetings.
The young artists of Zurich, whatever their orientation, are invited
to come along with suggestions and contributions of all kinds.
-Zurich, February 2, 1916).
Further information can be viewed at:
Transvoyeur: www.transvoyeur.co.uk
Walk the Plank Theatre Boat: www.walktheplank.co.k
Bluecoat Art Centre: www.bluecoatartcentre.com
Affiliations to:
Independents Liverpool Biennial: www.independentsbiennial.co.uk
Liverpool Biennial: www.biennial.com
Transvoyeur Performance Art Platform 2006, "The Spatiality
of the Post Modern Female", Independents Liverpool Biennial
2006.
Co-written by Jean-Paul Debuffet and Lucia Andrea Sweeney.
Saturday 28 October 2006
(From left to right and down) Audience at performance of View
Two Gallery. Gaynor Evelyn Sweeney in Boudicca's PMT in the 21st
Century, Jo Derbyshire's Seasons - When the City Speans collaboration,
Jeimy Marisol Martínez Galavíz explores the concepts
of sound with the piano. Last, Ken Martin (Director of View Two
Gallery) and Jeimy Marisol Martínez Galavíz.
On Friday 27 October 2006, the final Transvoyeur Performance Art
Platform 2006 at the View Two Gallery (Liverpool, England) was
presented. Researched and managed by the Gaynor Evelyn Sweeney,
UK Projects Co-ordinator of Transvoyeur, there was a selection
of artists from the city and internationally. The artists included
Jeimy Marisol Martínez Galavíz, Seasons - When the
City Speaks (Alison Bazely, Laura Baxter, June Hobson, Peter Worthington,
and Gaynor Evelyn Sweeney, conceived and directed by Jo Derbyshire)
and Gaynor Evelyn Sweeney.
The first performance art piece was by Gaynor Evelyn Sweeney.
This was titled ‘Boudicca’s PMT in the 21st Century’.
Firstly performed in Berlin and then London, 2005-2006. This live
art is one that has evolved with each rendition, reciprocal to
the context of the spatiality and urban culture. This opened with
artist dressed in white medical coat and a white mask reversed
to the back of her head. This produced a dual profile. Sweeney
walked to one side of the room and whispered in to an audience
members ear. She requested this message to be passed through the
audience members as in the game of ‘Chinese Whispers’.
When the chain was concluded on the other side of the room, she
requested the male to speak aloud what was said. Sweeney then
asked the first member of the audience, who was female to stand,
and the last, who was male, to join her at the front. She guided
each to sit either side of her and passed them sheet of text.
She introduced the text as ‘Athena Review Vol. 1, No. 1
from The Annals by Tacitus (AD110-120) Book X1V, which describes
the Rebellion of Boudicca (AD 60-61). This was a translation from
Latin to English describing the rise and fall of Boudicca. She
instructed the two volunteers to commence reading the ancient
text and to continue until the last page. The male and female
commence recitation, at times in unison and others a cacophony
of words that conflicted when out of synchronisation. She draped
over the two figures a mass of gold chiffon. She then stood reversed,
with the white mask on the back of her head peering towards the
audience.
Dressed in white medical overall and trousers, she stood arms
outstretched while the rendition of the historical events of Boudicca
was imparted to the audience. She then turned and knelt to the
ground. She collected a mass of paper on the floor in front of
her. On these were printed biological diagram studies of the female’s
reproduction system. The artist folded layer by layer each sheet
to form paper aeroplanes, which she threw with vigour into in
to the air and audience. To reside back, composed and calmly fold
another. After some time and the pile of printed biological studies
expired, she curled tightly into a ball. During these actions,
the male and female continued to read the ancient text. Sweeney
curled into a ball, stretched her arms forward, head still down
she clawed at the ground. As her hands draw close to her body,
she released a merciful scream. Several times the shrilling lament
was released from her lowered body. The force of the energy expelled
the affliction, grief and anguish expressed in the text by the
male and female read.
A woman, Boudicca, who is remembered in the canons of history
who led the Iceni rebellion against the Romans, after her husband,
Prasutagus, as king of the Iceni, died. The Romans went against
their word and Nero was ruling in Rome and the Britons were forced
to endure huge taxes, conscription and inhumane treatment at the
hands of Roman authorities. The peaceful treaty after Prasutagus
death was forgotten and for more wealth, the Romans invaded the
lands of the Iceni. Boudicca was flogged her daughters were raped.
The essence of a females strength is re-represented in the ideologies
in this text of 21st century constructs of gender politics. Sweeney
presented a captivating and poignant performance, as the female,
as the lover, the matriarch and femme fatale to avenge what was
lost. As Shakespeare captured in his writings ‘Hell has
no fury like a woman scorned’ and Boudicca epitomized this.
The next performance to follow was Jeimy Marisol Martínez
Galavíz a visual, performance and sound works artist from
Mexico. She walked over to the piano in the View Gallery and raised
the lid to the strings. She bent with poise into the piano, her
head lowered to the strings. The audience looked on curiously.
Then she intoned a musical note, not a choral or recognisable
song, but tones emanated, scaled and alternating in no rhythm.
There were interludes of silence, but during these moments it
was realised the reverberations of her own voice on the inner
strings of the piano resonated.
Intonations of a duet between instrument and artist, reciprocal
sounds forming a duality in this intervention. The disjointed
tempo of the process crescendo from the soprano inflections to
hysterical screams and equally the strings echoed back. She moved
across the scale of the piano strings and each responding by chord
and note against he energy of her voice. The audience sat bewildered
and entranced by this strange interaction with our notions of
artist, musical instrument and structured sound. She rose from
the piano, faced the audience, and left the performance platform.
The final performance was conceived by Jo Derbyshire with other
artists and audience members participating. The performance opened
with a performer, Sweeney seated on a chair. She commenced reading
a monologue. A text written by Derbyshire of her experiences of
the city of Liverpool combined with historical and popular culture
references. These structured into the ‘Seasons’ and
titled ‘When the City Speaks’. Some moments later
Derbyshire enters the scene carrying art materials, which she
spreads across the floor. A collection of paints, brushes and
so forth. She departs at each the orator states a seasons to return
with a canvas representative of each term and another artist enters
the scene adjacent to the placement of the canvas. These canvases
a combination of mixed media, painting and collage. Photographs
and text mixed with abstract and figurative representations. These
form the foundation of a visual dialogue cognitive to the subject
being read aloud. On conclusion of the monologue, Derbyshire disappears
from the scene and the four artists sat next to her canvases commence
adding to the surface.
The reader invites members of the audience to come forward and
contribute to the seasons on the canvases. The artist, Derbyshire,
compares the seasons within the structure and semiotics of her
art formed by her experiences and lineage against the urban spatiality.
The idea of time and space is explored and as something has a
natural progression in evolution of a place, so too is that of
the human creatures intervention. The invitation for the audience
to contribute continues with this innate sequence by modifying
the spatiality of the canvas. An intervention of historical and
natural cause and effect and the linear concept of time by human
experience. The performance finalised with each member of the
audience interacting with the art and becoming part of the creative
seasons of each canvas. This piece intrigued the audience and
the live art became a type of ‘happening’ in the creative
process.
It is interesting in this series of three performances by the
artists there is a consideration of the female role in post-modern
society and culture contrasted to the canons of history and inherited
concepts. There is a recognisable universality to these notions
and regardless of time separating the historical figure to the
contemporary female artist the fundamentals remains the same of
the passion and zeal of the female in her many guises, as lover,
matriarch, leader, professional and so forth. This does not remove
the female from her status in contemporary life; rather it recognises
the essence of her strengths and weaknesses in time and space,
all which are integral to both genders, male and female, in her
relationships of everyday existence and life. Indeed the ancient
text on the subject of Boudicca, a canonised female figure, is
recorded, inscribed and explicated by a male, Tacitus. Whether
the war cry of an ancient female embodied in Sweeney’s personification
to the screams from Galavíz, by tonality, function and
rationale, we are presented by two woman who similarly test the
preconceptions of spatiality in sounds and visual dialogue. Again,
parallel to the fundamentals of Derbyshire’s monologue of
shared experiences and understanding as a female living in the
urban space of Liverpool.
The Transvoyeur Performance Art Programme 2006 was realised with
the support of the Ken Martin (Director/Curator) and Sam Skinner
(Exhibitions Co-ordinator) of the View Two Gallery, Liverpool,
England.
Contact details:
Transvoyeur UK
Gaynor Evelyn Sweeney (UK Projects Co-ordinator)
Mobile: +44(0)7944733576
E-mail: transvoyeuruk@hotmail.co.uk
Website: www.transvoyeur.co.uk
View Two Gallery
Ken Martin (Director/Curator)
Tel. No.: Tel: 0151 236 9444
Email: info@viewtwogallery.co.uk
Website: www.viewtwogallery.co.uk
Review ... Transvoyeur International Exhibition: Liverpool and
New York 2006, Independents Liverpool Biennial 2006, at View Two
Gallery, 23 Matthew Street, Liverpool, England, Monday 23 October
2006 - Saturday 04 November 2006.
Co-written by Jean-Paul Debuffet and Lucia Andrea Sweeney (and
Edited by Gaynor Evelyn Sweeney).
Wednesday 25 October 2006
The Liverpool and New York Exchange Programme of Transvoyeur 2006
was eventually launched in the Independents Liverpool Biennial
2006 at the View Two Gallery, 23 Mathew Street, Liverpool, England,
on Tuesday 24 October 2006.
The artists in this exhibition include:
Liverpool Collective: Agata Alcaniz, Brendan Byrne, Jo Derbyshire,
Tony Knox, George Lund, Charles Nuttall, Catherine Shea, Gary
Sollars and Gaynor Evelyn Sweeney.
New York Collective: Lara Allen, Michael Ricardo Andreev, Chris
Borkowski, Rodney Dickson, Stephan Fowlkes, PJ Cobbs, Aaron Miller,
Raphaele Shirley and Lee Wells.
The collection of art is a series researched and developed by
the Liverpool and New York artists over the past two years. This
was intended for the week of the Independents Liverpool Biennial
launch week, but was systematically removed and pulled hours before
the opening. The philosophy though of Transvoyeur has always been
one for positive and constructive energy to realise projects and
exhibition of an exceptional impetus in contemporary art and practice
with mutual respect and support of each collaborative artist in
the international groups. Albeit this negative outcome on the
onset of the Independents Liverpool Biennial 2006, the artists
from Liverpool and New York the most constructive course of action
was to research other outlets and open the exhibition later during
this cultural time in the city of Liverpool.
Through the professional support of Ken Martin (Director) and
Sam Skinner (Exhibitions Co-ordinator) of the View Two Gallery
space the exhibition was realised. The doors opened at 6.00 pm
for the private view.
Many people from the arts community, local and international,
attended to view the art, including members of the public. Some
visiting from London, Edinburgh, Paris and Barcelona. The comments
expressed from different members from the public and international
arts community, included
‘The best exhibition I have seen during this Biennial’
‘The work all very strong and immensely diverse, but it
works cohesively. Excellent show’.
‘I remember seeing the work of Transvoyeur artists in the
Independents Liverpool Biennial 2004 and it was provocative and
thought provoking work then. This new work is again strong”.
The Transvoyeur artists are elated with the positive feedback,
due to the difficulties encountered at the onset of the previous
exhibition being pulled by ulterior means, but collectively they
endeavoured to realise an exhibition of worth.
Each artist from Liverpool and New York researched and produced
new art for this exhibition, as one of the inaugural concepts
of the Biennial and Independents in 1999 was that during the international
platform of the different arts and cultural events it should be
contemporary and innovative art presented. This ethos all the
Transvoyeur artists have believed in too and significantly, with
those members who have a history with previous Biennials.
The exhibition of Transvoyeur is on the first floor of the View
Two Gallery. You enter the space from a flight of stairs at the
main entrance and immediately presented with a projection a projection
of a series of images that show strange and surreal architectural
structures. These are a collection of images produced by Raphaele
Shirley and documentation of architectural maquettes, constructed
and deconstructed to explore ideas of time and space. These images
references the primary source of her own creative insight in the
temporality and spatiality of virtual urban structures, as well
as an element contributed to PAM (Perpetual Art Machine), which
is a database of digital materials of which she is a co-founder
with Aaron Miller, Chris Borkowski and Lee Wells.
Adjacent to this New York artist piece is a large-scale photographic
portrait of veiled gold face with menacing eyes peering through.
This is by Tony Knox and part of the recent developments of his
Moth Man character, an alter ego of wrestling character. From
this entrance area, the space bends around into a larger area
where two further large-scale photographs by Know are exhibited.
Moth Man by the Pyramids, with two Egyptians on camels in the
background bewildered with this strange gold winged character
jumps across the stones with the pyramids as a backdrop. The next
image of equal scale show the character armed flayed in the night
with a row of streetlights arching away in the distance. During
this Biennial, Knox is the Artist in Residence at the Field Fund
Project in St Helens, part of the Anthony Gormley initiative introducing
arts to alternative audiences at the De La Salle School.
Facing these images of Knox is a large reproduction print of a
newspaper by Gary Sollars. This is a pseudo newspaper and titled
‘Get Wired’. The concept derived on the satire of
news credibility in a socio-cultural context of postmodern society
and where intrigues from the critical to banal are abstracted
to the humorous rationale. Sollars was a short listed artist in
the John Moores Prize this Biennial too.
There art continues down a long wall to two explorations by Jo
Derbyshire. One is a large painting in mixed media of abstraction
face with undertones of Picasso-esque influence and similar the
other, but in pastels, a fusion of mass of faces peering inwards
and outwards of the two dimensional surface. These are described
as psychoanalytical studies of form and tone and within the layers
of each abstracted composition of the human face or head something
different to be discovered and realised by each viewer’s
perspectives.
Next are four large paintings by George Lund. A combination of
the figurative and abstracted in an explosion of colour and hue,
which he is synonymous with his art. These are formed in a naïve
style and the subjects a commentary on the socio-politic climate
of the global affairs, including relations of the human creature
with ecological matters, the prevalence of war overseas and the
common denominator of unjustifiable justified to result in destruction.
For Lund who generally touches on the sublime in previous art
and imbued in his palette has retained the tonality and range
of colour he is known for, but here he delves into topical issues
that effect us all in contemporary life. Lund has recently been
one of the commissioned artists by the Liverpool Culture Company
with a limited edition reproduction of his art on merchandise
relative to the city, arts and culture.
We move down further into the space and next there is an immense
wall installation. This is a collaborative piece by all the New
York artists (i.e., Lara Allen, Michael Ricardo Andreev, Chris
Borkowski, Rodney Dickson, Stephan Fowlkes, PJ Cobbs, Aaron Miller,
Raphaele Shirley and Lee Wells). It is composed by a collection
of large sheets of paper, each distinct, but discernible with
layered media to each. Each New York artist has contributed to
each section of paper with one final artist constructing the final
surface and image. One that is perceptible in style to their practice.
The black and white heraldic status denoted by Andreev on a bed
of collaborative colours and tones. The geometric overlays recognisable
of Fowlkes on the chaotic fusion of stratum by other associate
artists. The military symbolism and group portrait by Wells in
a spatial composition of a world formed by the contributions of
the others. On another sheet expletives and foul language pervade
the surface combined with commentaries of current socio-political
content. These are perceived to be those conveyed by Dickson.
An Irish artist, previously based in Liverpool and now New York,
whose work considers the extremity and inhumanity of warfare and
the socio-culture sections of society that survive on the periphery
of such. Equally so, as one studies each part that forms the whole
of this installation we observe the cognitive form by each artist
from Allen, Borkowski, Miller and Shirley. The installation is
fascinating. It is a hybridised narration of not only each artist’s
concepts, but also a collection and amalgamation of the universal
ideologies that permeate the globalisation of art, culture and
society.
The next piece is a wall installation by Sweeney. A performance
artists who works in different media from live art, digital video,
photographic and those of a more scientific content. We are presented
by two large-scale images, which on first analysis make her form
seem obscure. Then it is realised the artist is shown lying on
a table legs upwards with a mirror in-between her legs that reflects
her genitals. These two, although similar, are positions symmetrically
opposite to each other. One is black and white, her arms out of
perspective only her shoulder can be seen with her head bent down
peering towards the viewer. In the neighbouring image that is
colour, one arms can be observed released upwards with a meat
baster. On both images to her left is a glass bowl containing
fish. There is a space between these two life size portraits and
placed is a large pedestal with a glass bowl containing live gold
fish.
Across the top of this large wall composition are three further
photographic studies. Over the black and white portray reversed
is an image of gold fish in a bowl and similarly reversed in colour.
Next to this, an explicit photograph of her hand pulling apart
her underneath and inserted is the meat baster. The third and
final image is an overlay of the two previous ones and this positioned
over the coloured image of her. The overt image of the insertion
is actually shrouded with draped white voile that falls to either
side of the pedestal. The material similar to that covering her
head and table in the live art photographic stills.
This installation by Sweeney is titled ‘Darwinian Donations
(DIY)’, a social commentary of genetics practiced by some
in everyday life to realise offspring. The style of the composition
and image has Renaissance undertones of the draping and tonality,
but the harsh white embodies the clinical resolve of genetic intervention
where the understanding is evolved and permeates down through
societal erudition. Sweeney in the coming months is due to commence
collaboration with one of the world’s top geneticists in
the research and development.
Then there is the art of Charles Nuttall. An arcade machine on
first observations, but the graphic design and signage refer to
‘Moth Man versus Nutcracker’. This is a collaboration
piece by Nuttall and Knox. Nuttall adapted the concept of Moth
Man and combined with his own wrestling character of Nutcracker
transformed the spatiality of these characters from the performance
context into the realms of digital video gaming media. Members
of the audience could interact with this piece by becoming either
character to fight in a wrestling tournament with already recognised
wrestling characters from the World Wrestling Federation. Further
to these two characters was also the option to select digitalised
characters of the artists as they are normally seen, aka Knox
and Nuttall.
There were then three separate digital video installations by
Alcaniz, Byrne and Shea. The digital video media of Alcaniz was
a performance intervention set in the context of the Liverpool
as the European Capital of Culture. These were three environmental
art performances are derived by action, intervention and visual
dialogue on concepts of urban space, culture and ecology. In various
modes, she collects each piece of garbage in the public space
and replaces it with a piece of sliced lemon. A long and arduous
process, but the meticulous actions of the artists in this film
present an element of the susceptibility of the human relationship
with space, whether relative to the urban environment or the planet
overall. The environment performance is an ongoing project which
aims to explore and analyse culture in terms of waste as the residue
for societal expression. These films are derived from the live
art interventions in location targeted and representative of Liverpool
as the Capital of Culture 2008.
The rendition intrigues the viewer to what we normally take for
the obvious, but while curiously captivated by the actions of
the artist, we are further motivated to the reasons and objectives
of this live art intervention captured in the film. This piece
is a profound expression of a topical subject and relative to
the government adverts, we observe late of a night on television
of the prospects of global warming. Alcaniz touches a nerve in
a subtle, but innate sense, rather than the repetition of these
government information services were we become desensitised.
Byrne's work uses a technique of remix which reconfigures work
in different conditions so that the work is always specific to
the event/space of it's showing, for example the 16mm film '12
Stone 4' was shown as a video at the Tate but as an installation
at the Pompidou. Similarly the work in this show is drawn from
other work but is reconfigured for this show, for example 'On
the Edge of the Estate (the Beacon)' was the central panel of
'Another Day' at the Ormeau Baths gallery in Belfast but is here
re-edited and a new transfer for this show. It is here shown with
'On the Edge of the Estate (Penmere)'.
Both were made on the edge of council developments (the beacon
being one of the largest council estates in Europe). Both are
constructed in this abandoned undeveloped edge, a place of danger
and beauty, where usual rules of conduct fall into the shade and
mythologies of freedom and fear co-exist.
'On the Edge of the Estate (the Beacon)' was produced on 16mm
film using a modified camera to give very long exposures producing
a deep star field. This is attached to a rig which revolves once
every 24 hours against the movement of the Earth giving a celestial
perspective where the movement of the Earth is apparent and the
stars remain relatively still. 'On the Edge of the Estate (Penmere)'
was shot next to the sewage works on a hot Summers day using a
microscopy technique. In contrast to 'On the Edge of the Estate
(the Beacon)' it is slowed down to reveal the motion of the gnats
as they fly manically in their one day of life. Both reveal a
change of human perspective at the edge of the everyday and the
ordered. An attempt to produce a sense of perspective in which
we are not the centre of the Universe.
Shea presents a digital video piece, which was researched and
developed over a series of hypnotherapy sessions. The concept
of which to give-up art. This is not merely a performance, but
a reality and addresses the role, purpose, function and rationale
of an artists existence, not only in the professional and socio-economic
realms of arts and culture, but considers the psychological and
intrinsic motivations one that can construe the act of being an
artist as a compulsion and innate ability; as the artist not only
presents this film as an end product of the concept of art, but
denotes the failure of the hypnotherapy and the urge to create
a deeper ingrained urge which has been theorised and philosophised
about since the institutionalised precepts and canons of art history.
The viewer is drawn into the personal experiences, passions and
conflicts of an artist in post-modern life, as she exposes her
aspirations and fears. The viewer becomes absorbed themselves
into the psychosis of the artist and share in the artists temporal
visions and emotions carried by the gentle timbre of the hypnotherapist
voice, who cannot be seen, but heard.
Members of the audience sharing in the hypnotherapy of Cath Shea's
art.
The collection of work touched on a range of subjects in contemporary
life, each compelling representations of the themes explored by
each artist. It is an exhibition one could visit a second and
third time and will realise something new.
Mina Jackson and Ian Jackson on the Moth Man versus Nuttcracker
Arcarde Machine.
During the opening an many different members from the art community
were present. Ian and Mina Jackson (Art in Liverpool Weblog and
Gold Fish Gallery respectively) and Bryan Biggs (Bluecoat Art
Centre, Liverpool, England).
Bryan Biggs (Bluecoat Art Centre) discussing the art of Transvoyeur
exhibition.
The exhibition finishes Saturday 04 November 2006, so it recommended
you take the opportunity to view this exhibition. The next stage
programmed for this collection of art is to be exhibited in New
York in early 2007.
Further information on the exhibition is available from:
Transvoyeur UK
Gaynor Evelyn Sweeney (UK Projects Co-ordinator)
Mobile: +44(0)7944733576
E-mail: transvoyeuruk@hotmail.co.uk
Website: www.transvoyeur.co.uk
View Two Gallery
Ken Martin (Director/Curator)
Tel. No.: Tel: 0151 236 9444
Email: info@viewtwogallery.co.uk
Website: www.viewtwogallery.co.uk
Jo Derbyshire to Research London Art Scene and Present
'When the City Speaks: Seasons' Live Art, 01 November 2006.
Jo Derbsyhire, one of the principle members of the Liverpool Management
Team of Transvoyeur and affiliate artist is off to London to research
the contemporary arts and culture.
During her stay, she will not only liaise with several galleries,
curators and artists, but will present her new performance 'When
a City Speaks: Seasons' in the context of London. This piece was
research and developed for the Transvoyeur Performance Art Platform
2006, part of the Independents Liverpool Biennial 2006.
She explores in collaboration with other artists and audience
participation the process of creativity juxtaposed to socio-cultural
and urban references of memory, residue and interaction. This
piece is one that evolves with each place visited from the original
art derived by the artist and contributions encouraged by participants
as the creative process becomes a sense of a 'happening' and art
itself becomes an artefact from each place.
Her research in London will be with Wendalena Kaye an established
London visual artist and both associate members of the London
Biennale (www.joderbyshire.co.uk).
Transvoyeur: Liverpool and New York Exhibition 2006
Part of the Independents Liverpool Biennial 2006
October 2006 - November 2006
Venue: View Two Gallery, 23 Mathew Street, Liverpool, L2 6RE,
England.
Artists:
Liverpool:
Agata Alcaniz, Brendan Byrne, Jo Derbyshire, Tony Knox, George
Lund, Charles Nuttall, Catherine Shea, Gary Sollars, Gaynor Evelyn
Sweeney.
New York:
Lara Allen, Michael Ricardo Andreev, Chris Borkowski, Rodney Dickson,
Stephan Fowlkes, PJ Cobbs, Aaron Miller, Raphaele Shirley, Lee
Wells.
Exhibition Dates: Monday 23 October 2006 - Saturday 04 November
2006.
Opening times: Monday - Saturday 12.00 pm - 5.00 pm.
(Note: Please contact in advance with the venue).
Private View
Tuesday 24 October 2006, 6.00 - 8.00 pm.
Transvoyeur UK
Gaynor Evelyn Sweeney (UK Projects Co-ordinator)
Mobile: +44(0)7944733576
E-mail: transvoyeuruk@hotmail.co.uk
Website: www.transvoyeur.co.uk
View Two Gallery
Ken Martin (Director/Curator)
Tel. No.: Tel: 0151 236 9444
Email: info@viewtwogallery.co.uk
Website: www.viewtwogallery.co.uk
Transvoyeur Performance Art Platform 2006 - Part (1),
Independents Liverpool Biennial 2006.
Venue: View Two Gallery, 23 Mathew Street, Liverpool, L2 6RE,
England.
Artists:
Jeimy Marisol Martínez Galavíz, Jo Gough and Emma
Sweeney, Tony Knox and Adam Webster, Mandy Romero, George Lund,
Nagachoo, Ernesto Sarezale, Antonio Sassu, Seasons - When the
City Speaks by (Alison Bazely, Laura Baxter, June Hobson, Peter
Worthington, and Gaynor Evelyn Sweeney, conceived and directed
by Jo Derbyshire), Catherine Shea ('Kitty'), Gaynor Evelyn Sweeney,
Lisa Jane Wrigley, Suzy Walker – Jacques Brel is Alive and
Well and Living in Paris, Kai-Oi Jay Yung and Neil Campbell.
Friday
29 September 2006, 5.30 pm - 7.00 pm
Kai-Oi Jay Yung and Neil Campbell, Mandy Romero, Catherine Shea
(‘Kitty’) and Gaynor Evelyn Sweeney.
Friday 06 October 2006, 5.30 pm - 7.00 pm
Jeimy Marisol Martínez Galavíz, Tony Knox, Adam
Webster, Nagachoo, Ernesto Sarezale and Antonio Sassu.
Friday 20 October 2006, 5.30 pm - 7.00 pm
George Lund, Suzy Walker – Jacques Brel is Alive and Well
and Living in Paris, Jo Gough, Emma Sweeney and Lisa Jane Wrigley.
Friday 27 October 2006, 5.30 pm - 7.00 pm
Peter Adams, Jeimy Marisol Martínez Galavíz, Seasons
- When the City Speaks by (Alison Bazely, Laura Baxter, June Hobson,
Peter Worthington, and Gaynor Evelyn Sweeney, conceived and directed
by Jo Derbyshire), Antonio Sassu and Gaynor Evelyn Sweeney.
Contact details:
Transvoyeur UK
Gaynor Evelyn Sweeney (UK Projects Co-ordinator)
Mobile: +44(0)7944733576
E-mail: transvoyeuruk@hotmail.co.uk
Website: www.transvoyeur.co.uk
View Two Gallery
Ken Martin (Director/Curator)
Tel. No.: Tel: 0151 236 9444
Email: info@viewtwogallery.co.uk
Website: www.viewtwogallery.co.uk
Northwest
Enquirer
An open-minded approach to the Independents Biennial Liverpool
2006
by Kay Carson
Published on Sep 07 2006
PREPARATION for the Independents Biennial Liverpool 2006 has been
frenetic. At least, that was the feeling while speaking on the
phone with John Brady, its creative facilitator – and, when
he told me he had received more than 200 portfolios, I reckoned
my hunch was right.
But the hard work, the shortlisting, the reading and re-reading
will all have been worth it, because from next week until the
end of November, the city will be buzzing with the infectious
enthusiasm and energy of raw talent.
“The Independents are not themed, categorised or curated
by institutions,” Brady explains. “They will be there
on their own terms, doing their own thing, looking for attention,
dialogue and interaction.” It is that sense of the unexpected
which will make this fringe festival, a tradition since the 2002
Biennial, a must-see.
Brady himself is no ingenue: this may be his first Independents
Biennial, but he was programme director of its forerunner, Visionfest,
which ran annually from 1992-97. As for this year’s line-up,
Brady says we can expect a real mix: “There will be some
relatively young artists, along with names which are already known
on the local arts scene, like David Hancock, and others who are
what we used to call crossover artists – combining pictorial
art with performance. 'Mixing their metaphors'
“Some of the work is in the form of a DJ or a band, experimenting
with noise sources and distortion. I have found it’s the
much younger, newer artists who are ‘mixing their metaphors’
in this way, merging installation pieces with visuals and sound.”
Brigitte Jurack’s Land Marks 1, a 1,500-word tract outlining
a journey through Liverpool’s landscape, colourfully describes
the trip between Stanley Park and Otterspool Park: “Passing
through the partially dismantled crumbling gate, leaving the park
at the former boathouse end of the lake, one can either use the
pelican crossing or the urine and grass-stained grey tiled underpath.”
Jurack’s words are made all the more real by sitting chunks
of mundane observations next to evocative ones.
A different slant on going underground comes from Sunken Sounds
– Tunnelled Visions, by Noise Club. Guitars, violin and
laptop will work to build a sonic sculpture, accompanied by live
drawing and video projection.
Those familiar with this audio-visual collective’s self-described
“brain-frying music” can expect more of the same,
but in Liverpool’s Williamson Tunnels, the acoustics should
be pretty astounding.
Uncharted territory
Those seeking purely visual stimulation should head over to the
Gostin Buildings, Hanover Street, where artists David Hancock
and Richard Meaghan have co-curated a group show that promises
to take the humble portrait into uncharted territory. I’ll
Be Your Mirror uses portraiture to convey a sense of identity
in the 21st century, ranging from the sentimental to the fetishistic.
One of the most endearingly gritty, truly Liverpudlian offerings
is 59 Powis Street. Artist Moira Kenny has taken up residence
in one of the empty houses in Toxteth’s Welsh Streets, the
site of a row after the 126-year-old former dockers’ homes
were earmarked for demolition. Kenny will be hosting coffee mornings,
dinner parties and a knitting club with the street’s remaining
residents – it’s an effort “to record the social
history of the area, capturing the local identity for present
and future generations.”
On a much larger scale is Transvoyeur, a collaboration between
artists from Merseyside and New York. Led by Gaynor Evelyn Sweeney
and featuring Liverpool-born Jo Derbyshire, the work encompasses
walks, talks, open-floor performances… and wrestling.
Independents' ethos:
Well, Brady did say the artists were doing their own thing; what’s
more, he feels the Independents’ ethos is something which
could spread to other parts of the country, if not the world.
“Other UK artists who have the same ambitions as those here
in Liverpool, could mean we will some day see an Independents
Biennial Cardiff, or Sheffield,” says Brady.
“And look at the Bienniales of Venice or Sydney. There must
be indigenous talent which is overshadowed by the activities of
international artists visiting the official festivals. So why
not have the Independents on an international scale and give them
a focus, too?”
Independents Biennial, venues around Liverpool, September 16-November
26.
www.independentsbiennial.org
Transvoyeur Art Auction 2006, View Two Gallery, Mathew
Street, Liverpool, England, Curated by Tony Knox and Gaynor Evelyn
Sweeney, Wednesday 06 September 2006, 7.00 pm -9.00 pm. THREE
MORE DAYS TO VIEW ITEMS REMAINING AT VIEW TWO GALLERY, Thursday
07 - Saturday 09 September 2006.
Transvoyeur Art Auction 2006
The Transvoyeur auction at the View Two last was a success with
private and commercial collectors bidding on a range of diverse
contemporary art. There are a few items remaining. To view these
on line and to make a bid or offer please go to the catalogue
web page (http://gaynorevelynsweeney.co.uk/transvoyeur_art_auction_2006_catalogue.htm)
and then email transvoyeuruk@hotmail.co.uk (>> To view remaining
work available).
Peter Worthington (Auctioneer) and ) Ken Martin (Curator of View
Two Gallery). Art in Transvoyeur Auction.
Original pieces of contemporary art and limited edition prints
submitted by Transvoyeur artists:
Àgata Alcañiz, Gianni Bianchini, Brendan Byrne,
Jo Derbyshire, Tony Knox, George Lund, Catherine Shea, Gary Sollars
and Gaynor Evelyn Sweeney.
With contributions made by guest artists, such as Pete Clarke,
Jane Fairhurst, Tommy McHugh, Emmer Winder and others.
The auction event was supported by Ken Martin and Sam, who provided
the venue and management support at the View Two Gallery. Peter
Worthington of the South Bohemian Gallery was the auctioneer.
The events of the evening were co-managed by Jo Derbyshire, Tony
Knox, George Lund and Gaynor Evelyn Sweeney. A live art intervention
in the auction transpired of 'Moth Man', while Knox was present.
Knox who asserts creation of the character, but who was it in
the costume???? Soon to be revealed in the coming weeks (www.mothman.org.uk)...
Who was in the Moth Man suit ...???
To all who contributed to enable the fund raising event of Transvoyeur
our appreciation and kind regards.
Contact: Gaynor Evelyn Sweeney (UK Projects Co-ordinator)
Mobile: +44(0)7944733576
E-mail: transvoyeuruk@hotmail.co.uk
Website: www.transvoyeur.co.uk
Transvoyeur
Art Auction, View Two Gallery, 23 Mathew Street, Liverpool, Merseyside,
L2 6RE, England. Curated by Tony Knox and Gaynor Evelyn Sweeny,
September 2006.
Transvoyeur Art Auction 2006
The Liverpool Collective of the Transvoyeur artists have come
together to contribute a selection of art an auction with work
donated by other artists too to support this fund raising event
to the Transvoyeur programme and exhibitions.
Date: Wednesday 06 September 2006, 7.00 pm - 9.00 pm
Venue: View Two Gallery, 23 Mathew Street, Liverpool, Merseyside,
L2 6RE .
Tel: 0151 236 9444
Fax: 0151 236 9555
(Download map to find View Two Gallery)
- Performances by Transvoyeur artists -
Auctioneer: Peter Worthington (Director of South Bohemian Gallery)
Curator: Tony Knox and Gaynor Evelyn Sweeney.
Transvoyeur Management Team (Liverpool): Gaynor Evelyn Sweeney,
Jo Derbyshire, George Lund and Tony Knox.
In association with Transvoyeur, View Two Gallery, Podgy and South
Bohemian Gallery:
For
further information, please e-mail: transvoyeuruk@hotmail.co.uk.
Liverpool Collective: Agata Alcaniz, Gianni Bianchini, Brendan
Byrne, Jo Derbyshire, Dorrie Halliday, Elizabeth Heritage,Tony
Knox, George Lund, Tommy McHugh, Catherine Shea, Gary Sollars,
Gaynor Evelyn Sweeney, Ben Youdan and others.
Other artists who have kindly contributed include: Pete Clarke,
Jane Fairhurst, Tommy McHugh, Emmer Winder and others.
All funds raised go towards towards the Transvoyeur programme
and exhibitions.
Jo
Derbsyhire in Foundry Exhibition, Draw Drawing 2, 86
Great Eastern Street, Shoreditch, London, Curator Tracey Sanderswood,
July 2006.
www.foundry.tv
Jo
Derbyshire in Postit Exhibition, Conceived and Curatored
by Craig Atkinson, Atkinson Gallery, Southport, Merseyside, England,
2 August - 2 September 2006 (www.postitposit.com, click for further
information).
Museum Man (Adam Nankervis), London Biennial in Las Vegas,
US. Adam Nankervis (Museum Man, Liverpool, England), Concept and
Project Initiator, presents a collection of art and the 'Flagging
Down' the London, Liverpool and international artists at Las Vegas,
including Transvoyeur artists art.
Co-Curator,
Gaynor Evelyn Sweeney with George Lund and Jo Derbyshire in affiliation
with Transvoyeur and Head Space @ Egg Space Gallery (Jazamin Sinclair,
Karen Henley, etal), Maria Hughs and Jamie Reid Exhibtion, 31
May -18 June 2006, Opening 31 May 2006, 7.00 pm onwards.
Transvoyeur
Artists in International Events … Flagging Down May Day,
London Biennial and Liverpool, England, April 2006.
David Medalla (London Biennial) and Adam Nankervis ((Museum Man,
Liverpool, England), Concept and Project Initiator).
Liverpool Event Co-ordinated by Jo Derbyshire and supported by
Gaynor Evelyn Sweeney and George Lund (Part of Transvoyeur)
Photographed by Tony Knox
Article Written by Gaynor Evelyn Sweeney and Lucia Sweeney
Sunday 30 April 2006 (Please select to read article on Art in
Liverpool Weblog).
Transvoyeur artists contribute to the Liverpool event of the London
Biennial Flagging Down May Day global 'happenings'. This was co-ordinated
by Jo Derbyshire with the support of Gaynor Evelyn Sweeney and
George Lund. A collection of art on flags was displayed at Sefton
Park, Liverpool, England, as similar transpired across the globe
in other cities. A live performance by Sweeney and Derbyshire
was presented too. (Please select to read the article on Art in
Liverpool Weblog).
International
Events …Flagging Down May Day, London Biennale and Liverpool
David Medalla (London Biennale) and Adam Nankervis (Museum Man,
Liverpool, England), Concept and Project Initiator
Liverpool Event Co-ordinated by Jo Derbyshire and supported by
Gaynor Evelyn Sweeney and George Lund (Part of Transvoyeur)
Photographed by Tony Knox
Article Written by Gaynor Evelyn Sweeney and Lucia Sweeney
Sunday 30 April 2006
On Sunday 30 April 2006, a group of Liverpool artists met on the
iron bridge in Sefton Park, Liverpool, England. This was a prelude
to the Flagging Down May Day event by the London Biennale and
a contribution by Liverpool artists.
The London Biennale in association with other international artists
are collaborating to produce a global cultural and shared experience.
Flagging Down May Day is a large intervention event happening
in cities where artists and artisans have created flags with visual
symbolism to come together in unification. This was conceived
by the Adam Nankervis (Museum Man Gallery, Liverpool) and David
Medalla (Co-Founder of the London Biennale). Artists in London
and similar in Liverpool and other cities are contributing to
these 'happenings'.
The Liverpool collective of artists was organized by Jo Derbyshire
with the support of Gaynor Evelyn Sweeney and George Lund on behalf
of Nankervis with Tony Knox photographing. He, along with Medalla,
are co-ordinating the London Biennale event of Flagging Down for
London Bridge at 6.00 pm on Monday 01 May 2006.
In Liverpool, the artists arrived and together they hung their
flags on the railings of the bridge, while others held them aloft.
Passers-by stopped curious at the collection of images on the
flags. A fusion of diverse styles of contemporary art practices
from the conceptual to the figurative and a mixture of materials
and themes.
A performance by Gaynor Evelyn Sweeney and Jo Derbyshire then
followed. Sweeney becomes the object and structure, as is the
bridge, to share in this event. Derbyshire hangs a collection
of flags across Sweeney’s body, the imagery of which is
a reproduced foetus with the artists face and the text ‘urban
culture’. The bridge and body denoting time encapsulated
to the venue of the bridge, its history and that of the city and
people of Liverpool.
The location for the Liverpool Flagging Down was selected by Derbyshire.
The iron bridge in Sefton park is a famous location of a tragic
love story as told by the ghost Liverpool writer, Tom Slemen (www.tomslemen.tk).
The tale is one of two lovers from different social backgrounds.
The man from an affluent family and the female lower echelons
in a day such things were frowned upon. On the knowledge he is
to marry another chosen by his family. She, distraught, takes
her own life and it is said to this day she haunts the bridge,
the place of their rendezvous waiting for him.
Similar to the history of the city of Liverpool it has been one
of socio-political and economic extremes and at times these transitions
in conflict. From the wealth imbued in the architecture throughout
the city, structural artefacts of a time, when through merchant
trade Liverpool was one of the most prosperous places. However,
through the drastic shifts and changes, the city has experienced
extreme social and economic deprivation in more recent decades.
The historical essence of the city is one of the paramour waiting
in abeyance.
On the precepts of the London Biennale, Nankervis and Medalla’s
Flagging Down and unification we join ‘her’ to celebrate
a city of culture. Liverpool, the city and the place, as artists,
residents and generations of lovers before in time and now one
in a state of flux again. A renaissance and redesign, but this
time as ‘lovers’ joined with no divide. The outcome
yet to be realized for the city of Liverpool, but it is one we
all hold a role to play as artists and people here.
The artists and galleres who contributed and participated in this
event in Liverpool are:
Individual Artists
Alison Bazely, Joseph Brown, Michelle Campbell, Jo Derbyshire,
James Katherine Doran, June Rose, H Karen Henley, Tony Knox, George
Lund, Eddie Lyons, Tommy McHugh, Amanda Oliphant, Carolyn Sinclair,
Jazamin Sinclair, Gaynor Evelyn Sweeney, Peter Worthington, Michelle
Wren.
Art Groups/Galleries
South Bohemia Gallery Artists (Peter Worthington, Curator).
Transvoyeur Artists
UK Artists: Agata Al Caniz, Gianni Bianchini, Jo Derbyshire, Dorrie
Haliday, Elizabeth Heritage, George Lund, Cath O’Shea, Gaynor
Evelyn Sweeney, Gary Sollars, Ben Youdan
US Artists: Michael Ricardo Andreev, Chris Borkowski, PJ Cobbs,
Rodney Dickson, Stephan Fowlkes, Aaron Miller, John Sebastian,
Raphaele Shirley, Lee Wells.
Long Journey Home Group
Carolyn Sinclair, Andrew Reid, Jazamin Sinclair, Karen Henley,
Julie Nylander, Yemi Abisola Parabhen, Jo Derbyshire, Katherine
Doran and others.
Web
Ian Jackson (Art in Liverpool).
www.londonbiennale.org
www.museumman.org
www.joderbyshire.co.uk
www.lundart.co.uk
www.gaynorevelynsweeney.co.uk
www.southbag.co.uk
www.eggspace.org
www.podgy.org.uk
