Peter Liversidge: doppelgänger
1 August – 21 September 2013
Peter Liversidge's exhibition for the festival unpicks the powerful and strange story of Ein Handschuh, a suite of etchings from 1881 by the Austrian Symbolist Max Klinger. Klinger's ten prints tell the story of a lost glove, dropped by a beautiful, rollerskating woman, and picked up by the artist, in whose imagination the glove goes on to live a bizarre and independent life of its own. Liversidge's response re-imagines Klinger's narrative as a life-size cycle of giant screen-prints with the dropped glove as a recurring motif, carved from white marble and dropped out of the image onto the gallery floor.
Every element in an exhibition of work by Peter Liversidge begins at his kitchen table with the artist writing proposals on an old typewriter. These hand-typed pages present an array of possible and impossible prompts for ideas and artworks in almost every conceivable medium. In a sense the first articulation of every work is in Liversidge’s head, then on the typed page, then in the mind of the reader, and finally (perhaps) as a realized object or happening.
Over the past few years Liversidge has worked in this way with an increasingly diverse body of institutions including the Whitechapel Art Gallery (Proposals for Whitechapel, 2013), the Finnish National Gallery (Proposals for Kiasma, 2011, the National Galleries of Scotland (Proposals for the Scottish National Gallery of Modern Art, 2010), the Tate Gallery (Proposals for Liverpool, 2008), the British Council (Proposals for Brussels, 2007), and Jupiter Artland, (Proposals for Jupiter, 2009).
A major new book about Liversidge’s realized proposals will be published this summer.
Sun, 12–5pm (during August only)