I rather liked these:a contrast of dark colours and themes; and bright colours and themes
FROM DARK INTO LIGHT
CONFINED, in an
Obviously, this is not (just) about keys, literally. Keys seemed a symbol for MY confinement within my illness; though I have done my best to re-invent myself and keep as much freedom as I (realistically) can.
The man said
“Don’t touch the
Which made me
Why did he
(I had not
Tried to touch
You do not
Then he spoke:
Trapped in time(I feel, can’t/do not want -quite- to articulate, verbally,what I mean……..)
Again, behind the symbolism of the key(s), the beautiful but archaic clock, the whispering(the silence, otherwise; ENFORCED) lies my baggage of repression, resentment of homophobia(internalised, particularly then, in the 80s), a lot of it connected with silent stuffy libraries. Rules, confinement, telling me how to be (heterosexual/”normal”).
I feel fairly free, however, in the NEW aery library:”that was then…. this is now”.
So, it’s upto ME to keep unlocking the doors, with MY key. I enjoy that part of the library I re-claim:reclaim for NOW/TODAY; and remember that I am a new self-made person and most of the internalised homophobia has gone now, (though the illness remains). This NOT the Hugh Owen Library at Aberystwyth in 1982; it is Liverpool Central Library -AND myself- re-invented, for 2014; so I can unlock the doors of painful memories and let the light in.:)
PS. Photography was allowed!
See also this posthttp://towardsutopia.wordpress.com/2013/05/25/the-new-central-libary-liverpool-impressionsramblings-and-more-linksintra-textualities-by-steven-benson/
BIENNIAL, POST 3. I CURATE MY OWN BIENNIAL OF QUIRKY LIVERPOOL PHOTOGRAPHS AND THE NON RE-USE OF UNUSED SPACES.BY STEVEN BENSON
Who has the power to curate?
This building is being temporarily re-used and that is better than nothing; the artistic part of me says, fab; but the political part says it is a crying shame that such a beautiful, ornate, historically diverse(in its useage)building is sinking slowly into decrepitude(exemplified in these captures). It is great,artistically, to say the art reflects back on the disused space; but in 3 and a half months it will be shut up again and derelict, left to rot.
I felt especially sad as it was in this trade Union Centre in 1988 or 1989 that myself as part of a group of lgbt activists successfully persuaded the Centre to include sexual orientation in their Equal Opportunities Policy; and I used the libray there(:
This has become a polemical lament; the art was good and quirky;but, time after time, the Biennial, for 2-4 months, has had a spectral re-inhabitation of these forlorn spaces, with NO political message that they should be re-vitalised; they are NOT just an artwork (in themselves) they are spaces that should be funded to be used AGAIN and properly, permanently occupied; the art is a good interim measure-it is SOME useage; perhaps I am being unfair on the Official Biennial; perhaps it is,partly, making my point for me, that these beautiful spaces are cruelly abandoned. I have negelected the art-work itself, but, on reflection, feel too sad to celebrate its beauties