Octavia by Julia Fullerton-Baton, 2014

LOOK is delivered biennially and is the north of England’s premier Photographic Festival, which in 2013 delivered engaging events and mass-participation to over 325,000 people. Liverpool’s history has been – and continues to be – much associated with exchange; whether physical, cultural, economic or educational. Thus “EXCHANGE” will explore these interchanges through a series of diverse exhibitions and events that examine migrations, trade, travel and transport. The theme couldn’t be timelier; underpinning the festival is Cunard’s 175th anniversary, attracting Three Queens of the sea to the Mersey, creating a visual spectacular that links the river to the ocean, the city with its transatlantic neighbours and ultimately, Liverpudlians with the world.

As with previous festivals, LOOK/15 draws from pools of emerging, mid-career and established artists and practitioners. LOOK/15 will showcase work in new lights, deliver new commissions and display work not previously seen in the city and sometimes anywhere else before.

There are works and events from, about or by Xavier Ribas and Ignacio Acosta (Chile), Jona Frank (USA), Tony Mallon, Bryn Davies, Steward Ellett (all Liverpool, UK), B3 Media (UK), Tricia Porter (UK), Ian Wiblin and Anthea Kennedy (UK), Marco Iuliano (Italy)… and many other people, of the city and beyond.

Cherise Smith Tiber Young Peoples Steering Group by Othello De’Souza-Hartley

Selected highlights include:

until 31 May | St George’s Hall
31st AOP Photography Awards
Showcase of the cream of commercial photography.

until 31 May | The Brindley
Black Glass Studios: Historic Photographic Processes
A display of works detailing the historic techniques of wet plate collodion and cyanotype photography being revived in the 21st century.

until 6 September | Museum of Liverpool
Othello De’Souza-Hartley: L8 Unseen
Striking large-scale photographs of families of the Liverpool 8 area captured in a range of locations.

15 – 27 May | The Gallery
Sheila Rock: Tough and Tender
Former punk documenter and party girl Sheila Rock, focusses on the quieter, sombre seascapes of the UK.

LOOK/15 runs from 15 – 31 May at various venues in Liverpool. See the full festival programme online here.

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Adam Lee is a freelance photographer based in Liverpool UK. For his personal and commercial photographic work his clients include the Wigtown Book Festival, The Observer Escape Magazine, Granta Books, Sara Maitland, and DaDaFest amongst others. Adam also works as a freelance facilitator of participatory photographic projects with commissioners including PhotoVoice, Preston City Council, Liverpool City Council and Minerva Arts. Adam is Chair of the board of directors for LOOK: Liverpool International Photography Festival. Here are his first five jobs:

1. My first job (other than working at McDonalds and for a local gamekeeper when I was at school) was for Ladbrokes the bookmakers while I was at university. I started this job in my third year and carried on until I went travelling, six months after graduating. I started off as a cashier and eventually worked my way up to the assistant manager’s role at a shop in Toxteth, Liverpool. It was quite fun (due to the customers, not the work) and was my first experience of any kind of people management. On the whole, I think I learned a lot about customer service, managing staff and it was a crash course in scouse banter!

2. After university and a bit of travelling, the first job I got was as a Student Support Worker for Liverpool John Moores University. I have been doing the job for over ten years now and cannot see myself quitting soon. This is a great job: it’s fulfilling, particularly knowing you’re helping people rather than creating profit for shareholders. Furthermore, I get all the good sides of being a student (attending lectures, receiving an education and being paid to be there) but with none of the exams or coursework. Over the past ten years this role has taught me skills and knowledge I still use today. The job has opened doors into the arts world that I had never considered when first starting: I work regularly as a photographer in this field as well as delivering participatory projects to disabled groups. Finally, it forms the basis of a sustainable business model to support my fine art photographic work.

3. I got my first project with PhotoVoice, a London based charity that delivers participatory photography projects nationally and internationally, in 2009 based primarily on my experience with disability from my support work role (I had limited, professional photographic experience at this stage). I didn’t really know what participatory photography was until I saw this role advertised. Since then I have built a pretty solid career from this type of work. I work regularly for PhotoVoice and now have an extensive portfolio of freelance participatory work and projects. I find the participatory work to be an excellent string to my bow – it is again very fulfilling, helps me to think about the visual literacy side of photographic work, is highly practical and brings in a good bit of money.

4. Since starting the support work job in 2003 I haven’t had any other types of “employment” (other than my freelance photographic and participatory work). I had been volunteering for Redeye, the Photography Network, since 2009 as host of their Liverpool network meetings and when the post of events co-ordinator became available in 2013, I thought that this would be a great job to support my own personal practice. It was a fantastic job – I got to meet some of the big names in photography, to establish myself as a figure in photography in the North West of England and to deliver some great events – from talks to masterclasses to conferences and mass participation projects. In the end, I decided to leave the job earlier this year, as I wanted to refocus on my personal photographic work, having been awarded a residency at Metal in Liverpool. I continue to work voluntarily for Redeye now, resuming my role with the Liverpool network meetings.

5. Since 2008 I have been working on a voluntary basis for LOOK: Liverpool International Photography Festival. I was brought onto the board of directors when the festival moved from Manchester to Liverpool in 2008. Since then, I have fulfilled a number of roles including treasurer, company secretary and web and social media manager. In June this year I was made chair of the board of directors. Despite being unpaid work, LOOK is something I strongly believe in and have put my heart and soul into for the past six years, helping to deliver two highly successful festivals in 2011 and 2013 and am now working with the board and executive director to plan for LOOK/15 next year.

More: Website | Twitter

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We’ve asked professionals in creative industries what jobs they have had in the past to get their foot through the door (or at least pay the rent). For more in the “My First 5 Jobs” series look here.

Established in Liverpool in 2008 by artists Tim Brunsden, Sam Meech, John O’Shea and Neil Winterburn, Re-Dock examine sites of cultural common ground such as cinema, dreams and open source development, by working with others to unpick and rebuild them.

‘Can you hear me? I can see you?’ is a new Re-Dock exhibition opening at FACT Liverpool on Friday 17 May. The exhibition continues until Sunday 2 June.

Over a 6 month period, we have worked with residents of sheltered housing schemes to re-examine contemporary telepresence devices such as Skype, in relation to the many waves of technology they have already ridden, and fantasy visions of communication portals from film and literature.

The exhibition will feature working prototype telepresence devices, designed in collaboration with the residents, that make use of Skype, lasers and a mixture of very old and very new optical illusions. The devices are displayed as props to send messages and think critically about telepresence and its affects.

As projects are the basic building blocks of our collaborations, it seems to make sense to introduce a couple.

The Open Source Swan Pedalo, christened Grace, was bought by Re-Dock in 2010. It was initiated as a ‘see where it goes’ artwork partly in response to the instrumental use of art in the public realm. The project offers people the use of Grace, as a platform with which to do something interesting. Uses so far have included operas, interviews and pirate radio transmissions. People submit their proposals to the community of custodians known as Swandeliers and if the proposal is viable, interesting and passes certain criteria, then we try support it. The practical and social challenges to growing an open source community around something as friendly and cumbersome as a Swan Pedalo, is both an exemplar and a challenge to the utopian vision of open source software culture.

Dave Lynch and Philip Jeck, who came aboard to discuss his music and perform live on the Swan.
Swan Pedalo Broadcasts were aired live from the Open Source Swan Pedalo over the 5th and 6th of August as part of Barrow’s FON Festival.
Photo credit: Rebecca Mulvaney

A Small Cinema is a project exploring what cinema used to be, and what form it might take in the future, through research, events, experiments, film-making and community dialogues. The aim is to understand the relationship of cinema to community, to test models of temporary film exhibition, and question what a future cinema ecology might look like. For each iteration of A Small Cinema, the archetypical cinema experience is rebuilt from memory by a community formed around the process. The most ambitious Small Cinema yet was built in Moston in 2012, resulting in a 70 seat cinema, gaining national recognition for the Miners Community Arts centre. In the first year the cinema has begun to find it’s own momentum as a functioning community film facility; showing documentaries by local film-makers, hosting regular film-clubs and screenings by other local organisations, as well as developing relationships with independent distributors to show new releases. All this, run by local volunteers, in a former miners-wash-house in North Manchester.

Karl Davies, Sam Meech, Mena and Steve Aldred standing outside A Small Cinema in Widnes.

Early in our development we were keen to avoid the Tyranny of Structurelessness, a term coined by Jo Freeman to describe the threat that a complete lack of formal structure can pose to the democracy of small groups. She argues that without formal structure, there is often nothing to stop small groups being dominated by overbearing personalities. Informed by this we try to adopt a playful, but scrupulous use of formal structures to keep each other on our toes.

Understanding art practice to be inseparable from the social fabric it works with, we try to give a great deal of consideration to the way we organise ourselves and how we relate to other communities and institutions. Working on a project by project basis, with an ever expanding network of collaborators, we rotate between leading and supporting roles. This enables us to temporarily harness the energy and direction that comes from having someone take a lead, while avoiding falling into entrenched working methods and relationships.

When we chose the name Re-Dock, it was because we enjoyed the interplay between notions of reexamination (Redux) and making use of the maritime metaphor of the Dock, to describe bringing things in, exploring them and sending them back out again changed. Over time, Re-Dock has become more porous, we have found it more interesting to open out than to scale up. The “Can you hear me? I can see you! ” exhibition is one good example of this and we have also supported the development of other artists and creatives e.g. Rebecca Mulvaney’s Chapbooks work placement.

Beyond Re-Dock, we all continue to explore our personal artistic practices, delving into biotech, videosmithery, real time film making experiments and thought visualisations.

As the intersection of art, technology and people is becoming an increasingly crowded cultural space, it seems more and more important for artist led groups to organize in ways that stimulate deeper and richer relationships between the three.

The Double Negative is an online magazine launched just over a year ago. Featuring the best and latest in arts, design, film and music coverage, their mission is to hold a mirror up to creative output and reflect it, uncovering and exposing the best – and sometimes the worst – of what’s out there. This is what they recommend for you to check out:

Event: Based in Liverpool, we’re really looking forward to this year’s photography festival, Look 13. Elsewhere, later this month, we’re very excited to see what the V&A have done with the David Bowie archive.

Artist: On the site, we have a monthly focus showcasing the work of an artist of our choosing, so this is tough. We love them all but the latest is Matthew Storrow, a trained architect turned graphic designer. He’s obsessed with imagery of derelict stuff, very post-apocalyptic – right up our street!

Video: We’re big fans of the work of abstract moving image artist Max Hattler. He’s worked on solo shows, music videos and short films. Most recently he made a video for Amnesty International which you can watch below.

Book: Editor Mike was recently given Play: The Nylon Book of Music for his birthday. Focusing on female artists in rock, it’s served as inspiration for a playlist we did as well as being something we just can’t stop leafing through.

In fiction, we’ve never really got over Girlfriend in a Coma by Douglas Coupland. Filled with pre-millenial tensions (it was first published in 1998), at its heart, this is a book about love and friendship. But poet and critic Tom Paulin probably puts it best: “This is a millennial novel of a very subtle and interesting kind. It’s visually brilliant, full of extraordinary imagery, fresh like new paint. I was absolutely knocked over by it.”

Venue: Probably the best venue in Liverpool right now is Camp and Furnace. A renovated industrial building just off the dock road, its multi-space layout makes it great for gigs, screenings and exhibitions. The fact it has a really nice bar and that it has been thoroughly thought through design-wise doesn’t hurt at all!

The Double Negative’s co-founder, Mike Pinnington

The Double Negative’s co-founder, Laura Robertson

More: Website | Facebook | Pinterest | Twitter

From 5-13 March, MadLab will be at The Arts Catalyst (Clerkenwell), hosting a series of “do-it-yourself biology” events – including setting up a lab from scratch, culturing bioluminescent bacteria, using mud to generate electricity and DNA barcoding beef to find horse meat at Deptford Market.

Meanwhile back in Manchester, the Omniversity has a range of courses on offer, from web development to Arduino. WordPress co-founder, Mike Little will be teaching Beginners, Journalists and Developers about the world’s most popular free blogging tool. For more information, visit here. The great thing about the Omniversity is that it offers everyone the opportunity to learn new skills without breaking the bank. People of all ages and backgrounds find our courses accessible and our course leaders are experts in their fields, with a great deal of teaching experience and hands-on knowledge to help you make the most of what you’ve learned.

In fact, one of our course leaders will be speaking at the upcoming TEDx at the University of Manchester on 28 March. As well as an array of academics and artists – including Professor Julian Dodd and Shahbaz Hussain – Elliot Woods (who leads the VVVV/Projection/Kinect course – 8-9 June at the Omniversity) will give a talk on projection mapping and its ability to change the way people relate to their environment and each other.

If that’s whetted your appetite for the cerebral, the University of Manchester is also hosting a series of public lectures in fields as diverse as molecular biology, classical history and sociology, showcasing the amazing research that is taking place within our city. More can be found here.

The Raspberry Jamboree hits Manchester on March 9, with people coming together from across the UK to celebrate the wonders of this £25 computer. The aim is to raise awareness about how the Raspberry Pi can be used to encourage children’s engagement with computing technology and will include speakers such as Professor Steve Furber (designer of the BBC micro) and Carrie Anne Philbur (teacher and author of the Geek Gurl Diaries). For more information, check out here.

On 5 March, the Whitworth Gallery will have a series of talks where you get to hear from curators and contemporary artists about their work and current research. They will also be hosting a weekend course which aims to explore the themes and techniques in the work of John Piper which is currently being exhibited at the Whitworth until the 7 April.

March is Women’s History month and to celebrate you’ll find a plethora of events under the banner Radical Women, from political activists to artists and scientists. The Whitworth Art Gallery is also doing its bit by hosting a series of talks about women in the arts. This will include a celebration of some of the most important figures behind their collection – more information can be found here.

Further out at Liverpool’s Kazimir is the Lift-Off Film Festival which will highlight some of the best new filmmaking talent on 27 February. It promises to be a broad and thought-provoking experience with documentary films, shorts, and stories about love, travel and belief – all in beautiful celluloid.

MadLab can be found at 36-40 Edge Street, Manchester, M4 1HN.

More: Website | Twitter

What:
This September Liverpool will play host to CAVE – a new and unique model of art fair.

Housed in Baltic Creative’s new Campus building, CAVE will give visitors the opportunity to discover the work of 45 of the UK’s most dynamic and currently unrepresented artists, offering the opportunity to buy work at a price to suit any budget. What makes CAVE unique is its focus on the artist with the organisers taking no commission or exhibition fees; the full sale price of each art work will go directly to the artist.

Y Morals by James McLardy

Coinciding with the opening of the Liverpool Biennial 2012, CAVE will run from 13 – 16 September, existing independently of but alongside the festival. CAVE aims to give emerging artists an ambitious sales & exhibition platform and the opportunity to engage with wide audiences. Playing on it’s independent position; CAVE is exhibiting some of the most exciting art being produced in the UK today. Painting, drawing, sculpture and film will exist alongside performative encounters, secret talks and urban shamanic rituals.

Oliver Braid

CAVE, the brainchild of Flis Mitchell and Kevin Hunt (artists and curators based at The Royal Standard in Liverpool) was born out of a desire to create a commercial platform for emerging and unrepresented artists during the Biennial, something that has never happened before. CAVE supports the very best creative talent the UK has to offer, removes gallery mediation, and creates a dialogue directly between the artist and the buyer; stimulating the local and wider regional art markets within the UK.

Tom Nolan

Flis explained “We feel that the time is right for something different, an ambitious and exciting commercial addition at the time of the festival.”

Kevin added “People will be able to buy something bespoke, hand-made and original, for less than many factory-produced blips consumed on the high street, engaging directly, with the artists who made the work.”

When:
CAVE Art Fair runs from 13 – 16 September 2012 at Baltic Creative Campus, Liverpool.

Find out more:
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Browse through our event bulletin to find more events.

I was a shy teenager so public situations were not my forte. That said I did want independence so, from 16 to 24 my first jobs were in bars and restaurants, which did wonders for my confidence and social skills. In Liverpool, (where I was at university) I pulled pints at the Casa Club, which is a bar that emerged out of the political heat of the 90s Dockers strike and is a space that supports grassroots, workers, socialist activity and the odd salsa night! A filmmaker friend introduced me to the management and I remember the interview vividly – what football team do you support? Red or blue? Stupidly, I said Manchester United. Big mistake!

Alongside this I also ushered at the Unity theatre, Liverpool, which at the time was the venue for avant-garde theatre, live performance and community productions. This was the easiest of work experiences and the most educative as I watched a kaleidoscopic mix of plays from Molière to Harold Pinter and by the time I left, I not only knew every fire exit in the building, but also could memorise lines having watched productions for weeklong runs.

After university I took a different trajectory feeling isolated by the clickiness of the art and film world, which seemed harshly impenetrable to people starting out. I worked as an archivist for social services and learning disability centres and was committed to this for a whopping four years. I think it was the beginning of a perverse fascination with technology from expanding beds and Stannah Stairlifts, which I glamorously modelled on various occasions.

I could only take working for a local authority for so long when I became aware of a new multipurpose arts centre, which opened in Liverpool, called FACT (Foundation for Art and Creative Technology). Having studied visual arts and film it was my dream place to work. I applied four times for different jobs and as the tale goes I finally got a job in time for the Liverpool Biennial, in 2004 when I became Gallery Co-Ordinator. The first exhibition I worked on featured the Thai filmmaker Apichatpong Weerasethakul, who coincidentally I would later work with on the inaugural launch of AND festival in 2009.

Within five months I got promoted at FACT and moved off the gallery and into the programme team, where I worked with the collaborations team on their public programme and it was there that I learned everything from programming, to commissioning and publications. I then started curating and developing larger scale outdoor events and fundraising. FACT was a real catalyst for my career, it was full of opportunity and, with a steady influx of inspiring artists through their doors, it was a fantastic springboard for where I am now.

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We’ve asked professionals in creative industries what jobs they have had in the past to get their foot through the door (or at least pay the rent). For more in the “My First 5 Jobs” series look here.

The pursuit of success can have us going around in circles, travelling far but getting nowhere. We accept that whenever we strive for something new, there is always the chance we will fail.

With the hyper-competitiveness of the Olympics upon us, we are seeing moments of striving and failing played out in front of us again and again. AND 2012 is about the subtlety, humour, vulnerability and tenacity of such moments.

Mobile Republic: Digital Caravans | The Center for Genomic Gastronomy | Friday 10 August – Sunday 09 September

During a kaleidoscopic five days, unlikely monuments will be inflated, failed technological dreams will be resurrected and extinct industries will be salvaged and rebuilt. A mirror will be held up to celebrity culture and the shirked responsibility of the financial crash.

Alongside this are a number of events that focus on self-improvement, be it workshops to enhance your charisma, makeovers to prepare you for the world post-2012, or participatory work – live and online – ready to solve all your problems.

Empire Drive-In | Todd Chandler and Jeff Stark | Wednesday 29 August – Friday 31 August

Overall, the programme is as much about finished exhibitions as it is about work evolving over time. It is about artists experimenting and setting ambitious parameters. It is about creating the kind of cacophonous late-night actions and events that AND has striven for since its inception.

We want to offer rich counterpoints to perfection, undermine accepted logic and find alternative ways of being.

Only the question remains: Are you big enough to fail?

MASTER-SLAVE INVIGILATOR | Jeremy Bailey | Thursday 30 August – Sunday 2 September

Abandon Normal Devices runs from 29 August – 2 September across various venues in Manchester, Liverpool, Lancashire & Cumbria.

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See more festivals we’ve featured here.

Ever since we started out as a zine and poetry event in Liverpool, we’ve been guided by the network of artists, writers and designers that surround us, and the things that really get us out of bed in the morning – that’s meant that we’ve delivered a massive range of work over the years, from brand identity and digital campaigns, to copywriting and live illustration. Right now, we have a fantastic roster of clients for our design, and an arts programme that produces new language-led commissions in performance, new media and the public realm.

The central strand of our arts programme is currently Electronic Voice Phenomena, it’s about really engaging with the technological interface, and seeing how it can be a kind of tool for experiencing language in new ways. We’ve been experimenting with and developing some new interfaces, such as LiveWriting which allows us to create live-written text animations. Working collaboratively with artists as we did with Sam Meech for LiveWriting is at the core of our values and is a key reason why we’ve been able to stick around for so long.

The Electronic Voice Phenomena theme is going to be part of our collaboration with Liverpool Biennial 2012 this Autumn, where we’ll again be working with Anat Ben David, Steven Fowler, Hannah Silver and Scanner. We’ve worked with the Liverpool Biennial since 2008 and have always aimed to present a completely new Mercy event for each festival. We always say this year will be our most ambitious, but it’s probably more honest to say that we’re always challenging ourselves and the Biennial is a great way of identifying how much we’ve grown over a two year period.

As soon as we’re finished with the Biennial (5 -7 October) we move straight onto the Manchester weekender where we’ll be creating a huge self-generating feedback loop of spoken word, live sampling, processing and projection at The Cornerhouse.

Between then and our EVP Spring tour with Penned in the Margins, we’ll be working closely with Young Pines, our pilot scheme to identify new ways for young talent to break into the creative industries. This year alone we’ve worked with FACT on a network where poets can learn coding, called Syntax, organised documentation from a 48 hour performance by Mark Greenwood, presented an EVP free for all at Cafe Oto and are now getting towards the finishing post with some work with public artist Laurence Payot and designer Scott Spencer.

All this is part of a GFA from Arts Council, which we supplement with workshops, other grant funds, and tickets, and partnership other galleries and festivals like the Biennial, FACT, Ideastap, Cornerhouse and AND Festival – as well as more independent organisations like new music curators like Deep Hedonia, Hive and Samizdat in Liverpool. We’re really proud of these partnerships, and we try to keep up with them all while building new ones. Just now, we’re chatting with super-cool curators Trigger in Scotland.

We were once told Mercy are generous which is something we’ve really clung onto. We wouldn’t grow if we didn’t actively seek opportunities to work with new illustrators and developers, artists and promoters. There are so many opportunities available if people are willing to step outside of their comfort zone.

It’s satisfying to make your living from ideas, but to make it work, it has to be intense most of the time.

Mercy are curating a Liverpool Biennial weekend on 5 – 7 October
.

Mercy Present:

Composite: Feedback
Sat 12th October 2012 | 3 – 6pm | 
The Cornerhouse Manchester.

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In their first four months they’ve worked for clients ranging from local arts organizations to massive corporations, providing all kinds of creative work from drawing and writing to video and web branding. Originally Young Pines was going to be a 4 month long zine project but the project has mutated and evolved over the past 15 months into something much bigger.

The Shipping Forecast Murals by Young Pines

The Shipping Forecast approached Young Pines to liven up their outside smoking area. Sticking to the nautical theme of the bar, but with no set brief, they went to town on the back wall. Armed with buckets of white and black masonry paint and brushes, they decorated the smoking area with sea critters great and small, along with the seafaring wisdom of Hemingway.

Young Pines have had the opportunity to build extremely strong, close bonds with some insanely talented emerging talent and they are genuinely attached to them all now in a way that makes it difficult for them to end the project (hence the fact that its dragging on into its 16th month). Young Pines have had the opportunity to identify firsthand what happens when you give a creative mind a completely open brief and an extremely modest budget to work with. Also, some of the participants have hunkered down and created their own new exciting things.

One of these projects is Deep Hedonia formed by Thom Isom and Jon Davis. Their remit is to produce intelligent, worthwhile music happenings that combine artists booking with the perfect venues, artwork and eventually installations. Thom is one of the most driven Young Piners, pouring bucketloads of energy into every project he tackles.

Thom worked with Christine Gore, Will Daw and Greg Gibson to build a post apocalyptic hotel installation. No Vacancy was the third piece of work delivered by Young Pines (after a book and exhibition of mythological creature pornography).

Mermaid Octopus by Michael Cottage

They’re still to produce their final round of Young Pines work, with Jon Davis, Emily Salinas, Jonathan Summers Muir and John Biddle and who were finishing their degrees until last month. It’s exciting to see what they come up with and how they learn from the past two groups.

Michael Cottage | Young Pines project- Dream of a Fisherman’s Wife. Worked alongside Milos Simpraga, Svea Carney and Emma Hammond:

“Being part of Young Pines gave me the opportunity to work with like-minded people, combining our creative strengths, whilst working with the lovely Mercy crew. What initially started as an exciting brief, evolved in to a group of mates getting together to produce numerous given and personal projects, which both Young Pines and Mercy could be proud to put our name to.

The internship has given me the opportunity to meet a group of very talented people who serve as a constant pool of inspiration to me, and to work with an agency of industry professionals, who I would be ashamed to introduce to my nan.”

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For more creative delights we’ve Spotted on the web take a look here.