January 2011
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ArtGuide - Museum
Liverpool - January
About Tate Liverpool
A Tate in the North
Early in 1980 the new Tate Director Alan Bowness met with his Trustees to discuss the idea of creating a major contemporary art gallery in the North of England, a 'Tate in the North', as the project became known. Bowness emphasized that the new Gallery would in no way be a poor relation of its London counterpart but would have the distinct identity of being a gallery dedicated to showing modern art and encouraging a new younger audience through an active education programme.
In the autumn of that year he visited the five largest cities in the North of England: Leeds, Manchester, Sheffield, Newcastle and Liverpool, to look at potential sites and talk with local museum workers, politicians, and academics about the project.
His proposals were greeted for the most part with great enthusiasm. In this report, Alan Bowness recalls these early days of the project.
Plans were set in motion in 1980 to create a major contemporary art gallery in the north of England.
The ‘Tate of the North’ was intended to be the home of the national collection of modern art in the north of England. It was to have a distinct identity from the Tate in London, and would be dedicated to showing modern art in the north and encouraging a new, younger audience.
Tate Liverpool was opened in May 1988 in Albert Dock, one of the largest group of Grade 1 listed buildings in Britain. The gallery underwent further development in 1998 to create additional galleries, more space for educational activities and events, and improved visitor facilities.
2008 marked Tate Liverpool’s 20th anniversary as well as Liverpool's status as the European Capital of Culture 2008. The year saw an unprecedented number of visitors to the gallery, for the first time exceeding one million, and cemented its position as a venue for major European exhibitions of important
modern art.
A Tate in the North
Early in 1980 the new Tate Director Alan Bowness met with his Trustees to discuss the idea of creating a major contemporary art gallery in the North of England, a 'Tate in the North', as the project became known. Bowness emphasized that the new Gallery would in no way be a poor relation of its London counterpart but would have the distinct identity of being a gallery dedicated to showing modern art and encouraging a new younger audience through an active education programme.
In the autumn of that year he visited the five largest cities in the North of England: Leeds, Manchester, Sheffield, Newcastle and Liverpool, to look at potential sites and talk with local museum workers, politicians, and academics about the project.
His proposals were greeted for the most part with great enthusiasm. In this report, Alan Bowness recalls these early days of the project.
Plans were set in motion in 1980 to create a major contemporary art gallery in the north of England.
The ‘Tate of the North’ was intended to be the home of the national collection of modern art in the north of England. It was to have a distinct identity from the Tate in London, and would be dedicated to showing modern art in the north and encouraging a new, younger audience.
Tate Liverpool was opened in May 1988 in Albert Dock, one of the largest group of Grade 1 listed buildings in Britain. The gallery underwent further development in 1998 to create additional galleries, more space for educational activities and events, and improved visitor facilities.
2008 marked Tate Liverpool’s 20th anniversary as well as Liverpool's status as the European Capital of Culture 2008. The year saw an unprecedented number of visitors to the gallery, for the first time exceeding one million, and cemented its position as a venue for major European exhibitions of important
modern art.
NAM
JUNE
PIAK
JUNE
PIAK
Tate Liverpool
until 13 March
until 13 March
VIDEO ARTIST, performance artist, composer and visionary: Nam June Paik (1932-2006) was one of the most innovative artists of the 20th century. Tate Liverpool, in collaboration with FACT (Foundation for Art and Creative Technology) present the first major retrospective since the artist’s death, and the first exhibition of Paik’s work in the UK since 1988.
The exhibition celebrates Paik as the inventor of media art, presenting his artistic path and highlighting his diverse talents experimental, musical, philosophical, spiritual, political and technological.
The exhibition showcases around ninety works from all phases of his career, many shown in the UK for the first time, alongside a rich selection of documentary materials from Paik’sperformances and early exhibitions.
Paik’s work developed from music via Fluxus actions and performance to media works, with manipulated television images providing the foundation for his video art. This inventive use of technology became Paik’s signature style, and the exhibition showcases a number of his iconic works including seven TV Buddhas, four robot sculptures and two TV cellos. His early manipulated television works Zen for TV 1963 (1982) and Magnet TV 1965 feature, as does the mesmerising projection One Candle 1989 and his Video Synthesizer 1969 (1992).
Born in South Korea, Paik began his career as a composer in Japan and Germany. Influenced by and working alongside artists such as John Cage, Joseph Beuys and Karlheinz Stockhausen, he developed a great interest in provocative action and electronic music. A substantial part of the exhibition is devoted to the photographs, scores and concepts from this period of his work in the 1950s and 1960s, as well as two of his famous Prepared Pianos from 1962-3.
Paik’s influential collaborations are brought alive through documents, photographs and rare performance footage. His friendship with artist Joseph Beuys and his collaboration with cellist Charlotte Moorman, which was particularly significant in the context of the New York avant-garde, are explored in depth. Other collaborators and colleagues including Shuya Abe, Yoko Ono, Laurie Anderson, Mary Bauermeister, Alison Knowles, Merce Cunningham and David Bowie feature in documentary material and video works
presented at Tate Liverpool and FACT.
Focusing on Paik's creative experiments with emerging technology, FACT will present the UK premiere of major installation Laser Cone 1998 alongside a series of single-screen and video documents including Global Groove 1973 and groundbreaking satellite video Bye Bye Kipling 1986.
Nam June Paik is initiated and developed by Tate Liverpool and museum kunst palast, Düsseldorf, curated by Sook-Kyung Lee and Susanne Rennert. The exhibition in Liverpool is presented by Tate Liverpool in creative collaboration
with FACT.
The exhibition celebrates Paik as the inventor of media art, presenting his artistic path and highlighting his diverse talents experimental, musical, philosophical, spiritual, political and technological.
The exhibition showcases around ninety works from all phases of his career, many shown in the UK for the first time, alongside a rich selection of documentary materials from Paik’sperformances and early exhibitions.
Paik’s work developed from music via Fluxus actions and performance to media works, with manipulated television images providing the foundation for his video art. This inventive use of technology became Paik’s signature style, and the exhibition showcases a number of his iconic works including seven TV Buddhas, four robot sculptures and two TV cellos. His early manipulated television works Zen for TV 1963 (1982) and Magnet TV 1965 feature, as does the mesmerising projection One Candle 1989 and his Video Synthesizer 1969 (1992).
Born in South Korea, Paik began his career as a composer in Japan and Germany. Influenced by and working alongside artists such as John Cage, Joseph Beuys and Karlheinz Stockhausen, he developed a great interest in provocative action and electronic music. A substantial part of the exhibition is devoted to the photographs, scores and concepts from this period of his work in the 1950s and 1960s, as well as two of his famous Prepared Pianos from 1962-3.
Paik’s influential collaborations are brought alive through documents, photographs and rare performance footage. His friendship with artist Joseph Beuys and his collaboration with cellist Charlotte Moorman, which was particularly significant in the context of the New York avant-garde, are explored in depth. Other collaborators and colleagues including Shuya Abe, Yoko Ono, Laurie Anderson, Mary Bauermeister, Alison Knowles, Merce Cunningham and David Bowie feature in documentary material and video works
presented at Tate Liverpool and FACT.
Focusing on Paik's creative experiments with emerging technology, FACT will present the UK premiere of major installation Laser Cone 1998 alongside a series of single-screen and video documents including Global Groove 1973 and groundbreaking satellite video Bye Bye Kipling 1986.
Nam June Paik is initiated and developed by Tate Liverpool and museum kunst palast, Düsseldorf, curated by Sook-Kyung Lee and Susanne Rennert. The exhibition in Liverpool is presented by Tate Liverpool in creative collaboration
with FACT.
Nam June Paik demonstrates Zen for Walking 1961
© Manfred Montwé. Photo: Photo by Manfred Montwé
© Manfred Montwé. Photo: Photo by Manfred Montwé
Nam June Paik
Zen for TV 1963 - 1975
© Estate of Nam June Paik . Photo: Photo © MUMOK Museum moderner Kunst Stiftung Ludwig Wien
Zen for TV 1963 - 1975
© Estate of Nam June Paik . Photo: Photo © MUMOK Museum moderner Kunst Stiftung Ludwig Wien
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