The Cunard Building: Liverpool Biennial 2012 - Review #4

The following extracts are two of my reviews taken from my joint feature for LS Media with Rosie Dodd. For the full article please visit:http://liverpoolstudentmedia.com/2012/11/the-cunard-building-liverpool-biennial-2012-review-4/

Liverpool to Let – Superflex

The collaborative art group, Superflex, contribute Liverpool to Let (2012) to The Unexpected Guest. In the Biennial’s main art space at the Cunard Building, a series of ‘To Let’ signs hang above the viewer’s head.

Liverpool to Let - Superflex

The Danish art group approach this project having been “struck by the abundance of empty office and commercial spaces in Liverpool’s financial district”. This piece conjures up ideas of recession, economic struggle and job insecurity that is indicative of contemporary society.

It is possible to view Liverpool to Let as an interpretation to the Biennial’s over-arching theme of ‘hospitality’. Although Liverpool may well be seen as a welcoming and vibrant city, it is not without its problems. Like many UK cities, Liverpool has suffered from the economic crisis of 2008. Liverpool has a history with a struggling employment market, yet Liverpool to Let perhaps plays with the collective conception of unemployment by illustrating a troubled financial district, and therefore problems for Liverpool’s middle class.

Through Superflex’s restaging of the ‘To Let’ signage, the audience is presented not only with a representation of Liverpool’s current economic climate but with historical documentation; the reasons behind this financial struggle may be open for debate but the audience cannot deny the reality of this situation. Like the sword of Damocles, this signage hangs above the audience with the potential threat of devastating all in its path.

Testimony – Mona Hatoum

Mona Hatoum’s Testimony (1995 – 2002) can be found at the Cunard Building, amongst her other contributions to The Unexpected Guest for Liverpool Biennial 2012 until 25 November. Hatoum presents her audience with a short video installation which focuses on a close-up of human anatomy.

Hatoum says that she comes from “a culture where there isn’t that tremendous split between body and mind” and perhaps the viewer may recognise this cultural influence in Testimony. By isolating the anatomical image on a black background the audience focuses their collective attention as they ask what part of the body they are presented with – although the title may give the audience a gentle nudge in a particular direction.

Testimony - Mona Hatoum

The Palestinian artist “suggests that nothing and no one is innocent” and this is arguably illustrated with Testimony as the viewer silently guesses what they see, but refuse to voice their assumptions out of potential embarrassment. Perhaps it is this possibility of embarrassment that Hatoum also wishes the viewer to question.

The body frequently appears in her work often acting as a metaphor for social struggle, and arguably brings political questions (particularly those concerning gender politics) to the fore.

Testimony is a hypnotic piece from which it is hard to tear oneself away, it asks the audience to be in a constant state of uncertainty whilst they ask a series of questions from, ‘What am I looking at?’ to ‘Should I keep my opinions to myself?’ and ‘Should I feel embarrassed about what I see?’. Through such questioning, Hatoum allows the audience to re-examine themselves, as well as their cultural and political significance.