Marc Quinn

1 February - 28 April 2002

Supported by The Henry Moore Foundation

The most significant exhibition of Marc Quinn's work to-date, this show presented a large body of new work and highlighted the diversity of Quinn's practice over the past decade. A wide selection of paintings, sculpture, drawing and photographs was shown together with flowers preserved using special refrigeration techniques and a new frozen blood cast of the head of Quinn's son, Lucas.

Remix: Contemporary Art and Pop

25 May - 26 August 2002

Sponsored by Twix
Supported by The Liverpool Culture Company Limited

Remix presented the work of artists for whom music appears as a form of inspiration and whose work reflects the visual cultures of film, video and photography that are closely associated with the appreciation and consumption of music. The exhibition included paintings, videos, sculptures and installations by twenty international artists who engage with genres as varied as psychedelia, techno, rock, heavy metal, soul, hip hop and film soundtracks. Music videos formed a vital part of the exhibition and were carefully selected to demonstrate their influence from the 1990s to the present day.

Liverpool Biennial: International 2002

14 September - 24 November 2002

Tate Liverpool was a major venue for the Liverpool Biennial's International 2002. Liverpool is the only city in the UK to host a biennial of contemporary visual art. In partnership with venues throughout the city, International 2002 brought together artists from around the world in a celebration of the freshest and most innovative elements of visual culture. Many of the artists showing at International 2002 had made work specially commissioned for the exhibition, and artists at Tate Liverpool included Jason Rhoades, Chiho Aoshima, Clare Langan, Guillermo Gómez-Peña, Fred Tomaselli and Francesco Vezzoli.

Shopping: A Century of Art and Consumer Culture

20 December 2002 - 23 March 2003

Sponsored by Tate Members
Supported by The Henry Moore Foundation, The Liverpool Culture Company Limited and the European Union
European Regional Development Fund
Media Partner The Guardian

Shopping: A Century of Art and Consumer Culture was the first exhibition to examine in depth the relationship between the display, distribution and consumption of commodities and modern and contemporary art. It featured over 240 works of art, ranging from photographs of shop fronts by Eugène Atget in turn of the century Paris and Bernice Abbott and Walker Evans in 1930s America, to major installations and environments such as Damien Hirst's Pharmacy (1992). The major Pop art installation The American Supermarket, featuring work from Billy Apple, Liechtenstein, Warhol and Robert Watts among others, was reconstructed for the first time since the original was shown in the Bianchini Gallery in New York in 1964. The exhibition, staged over two floors of the gallery, was developed in association with the Schirn Kunsthalle Frankfurt, where it was also shown.

Thomas Ruff: 1979 to the Present

9 May - 6 July 2003

In partnership with Volkswagen for Phaeton and Touareg

This exhibition, part of a tour organised by the Kunsthalle Baden-Baden, presented the first retrospective in the UK of German artist Thomas Ruff, one of the most acclaimed and ground-breaking photographers working today. This comprehensive survey included over 150 works and chronicled Ruff's influential body of work from the earliest through to his most recent spectacular colour abstractions.

Janet Cardiff: Forty-Part Motet and Muriel Lake Incident

12 April - 7 September 2003

Canadian artist Janet Cardiff is most widely known for her audio and video walking-tour projects and her large-scale installations. Tate Liverpool was the first Tate venue to present her major work Forty-Part Motet 2001 based on a choral work by the sixteenth-century composer Thomas Tallis, Spem in Alium. Forty audio speakers represented each singer, the audience listening to different voices and harmonies as they move through the gallery. Muriel Lake Incident 1999, a collaboration with George Bures Miller, mentally propels the viewer into a miniature cinema, to become involved in the stories taking place both on and off the screen.

Paul Nash: Modern Artist, Ancient Landscape

23 July - 19 October 2003

This exhibition was the first major survey exhibition of Paul Nash in Britain since 1989. Major cycles of paintings were shown together alongside a previously unseen selection of Nash's photographs and archive material from the Tate Collection. Recognised as a major British painter of the twentieth century and the most important landscape painter of the pre-Second World War period, the exhibition followed a loose chronology, but focused on Nash's key cycles of landscape painting: the First World War landscapes; the Dymchurch series; the dream landscapes; the megaliths series; the vernal equinox and moon paintings; Second World War canvases; and finally, the transcendent sunflower sequence. Bringing together paintings, works on paper, photographs and rare archive material, this exhibition offered a unique opportunity to trace the development of ideas and subtle stylistic progression from Nash's early to mature work.

Art, Lies and Videotape: Exposing Performance

14 November 2003 - 25 January 2004

Art, Lies and Videotape: Exposing Performance was the first Tate exhibition to investigate key moments in the history of performance art. Work ranged from rare, circa 1900 film footage of dancer Loïe Fuller (an inspiration for the Art Nouveau movement) to Yoko Ono's new work not seen before in the UK. Other artists included Vito Acconci, Diane Arbus, Joseph Beuys, Yves Klein, Dennis Oppenheim, Francis Picabia, Man Ray, Robert Rauschenberg and Oskar Schlemmer, as well as work from younger artists such as Franko B, Robert Longo and Catherine Opie.

Mike Kelley: The Uncanny

20 February - 3 May 2004

Supported by The Henry Moore Foundation

The Uncanny was based on a project originally presented by Mike Kelley, a Los Angeles-based sculptor, performance and installation artist, more than a decade ago. This was revised and updated for Tate Liverpool in close collaboration with the artist. Sigmund Freud described the uncanny as 'a hidden, familiar thing that has undergone repression and then emerged from it'. In The Uncanny, Kelley explores memory, recollection, horror and anxiety through the juxtaposition of a highly personal collection of objects - the Harems - with an investigation of the uncanny through realist polychrome figurative sculpture.

Daimen Hirst
born 1965
Pharmacy
1992

From the Shopping: A Century of Art and Consumer Culture exhibition, Tate Liverpool