This month’s Late at Tate is themed around Tate Liverpool’s current collection displays - DLA Piper Series: The Twentieth Century: How it Looked & How it Felt. Hear an in conversation with one of the artists, be surprised by musicians in the galleries responding to abstract work from the collection display and distracted by a special one off group performance relating to Rodin’s Kiss. Stay to hear The Neil Campbell Collective perform a set inspired by the collection, complete with electric cello, processed classical guitar and wordless vocals.

Michael Craig-Martin discusses his career to date with curator Achim Borchardt-Hume, Tate Modern, focussing on his work, 4 Identical Boxes with Lids Reversed currently on display at Tate Liverpool in the Rules and Repetition section of DLA Piper Series: The Twentieth Century: How it Looked & How it Felt. A conceptual artist particularly noted for his influence on the generation of YBA artists who emerged in the 1990s (many of whom he taught at Goldsmiths University, including Hirst), Craig-Martin speaks about his work and that of other artists in the display. (18.00 – 19.30, £7, £5.50 (concessions), £4 (members)).

Elsewhere in the building, visual artist Claire Blundell Jones choreographs Kissing. Kissing is a group performance that investigates whether a social sculpture of kissing looks as aesthetically beautiful as the same act portrayed in an artwork such as Rodin's The Kiss, or whether it is just as repulsive as some people perceive kissing in public to be. Exploring the boundaries of personal space, alienation, restraint and the issues of public affection, couples and singles will be coming together from all over the country to unite for Kissing - transforming Tate Liverpool’s gallery and non-gallery spaces for those who encounter it. 

Members of CoMA North West present Abstraction/Composition in the galleries, with Richard Harding on guitar and Phil Hargreaves on soprano saxophone playing compositions inspired by and related to works in Tate Liverpool’s current collection display – DLA Piper:The Twentieth Century: How it Looked & How it Felt and composed by members of CoMA North West. Pieces include Concentric by L C Dunbar (based on Richard Long’s Small White Pebble Circles), Spatial Concept by Phil Hargreaves (based on Lucio Fontana’s Spatial Concept) and Number 23 by Phil Hargreaves (based on Number 23 by Jackson Pollock).

While visitors to the galleries encounter these impromptu performances by individual musicians responding to Tate Liverpool's collection display – Mellowtone DJs and special guests The Hive Collective fill the foyer with a tantalizing array of tunes reflecting abstraction in the Tate Collection. Finally, The Neil Campbell Collective polish off the evening with a set inspired by the collection display complete with electric cello, processed classical guitar and wordless vocals. Their most recent album, Particle Theory, has been described as "a dense and complex suite of music that constantly challenges your perception of how music should be” (Stuart Hamilton, space-rock.co.uk) and also as dissolving “the conceptions of time and space with its instrumental richness and sumptuous compositions” (Alex Jasperse, Muse's Muse).