Arts and culture organisations have been anxiously waiting for their fates to be revealed this morning, as Arts Council England finally announce who gets the 2023-26 round of ‘National Portfolio ...

“Urban landscape and architecture are integral.” Anthony Ellis on how film can fix in our minds and memory a sense of place… General views are one of the more unusual aspects of filmmaking. They’re ...

How often do we really examine curatorial contributions – not simply to an exhibition, but to the care and display of collections? Mike Pinnington considers ALL THAT REMAINS: A Curator’s Choice at ...

An experimental and hypnotic film made with Super 8, Jarman’s The Last of England is a scathing attack on the state of Thatcherite Britain, homophobia and the treatment of AIDS victims, finds Adam ...

With the dust settling on Liverpool Biennial 2023 – a year marking 25 years of the festival – Addae G reflects on his spiritual encounters with this latest iteration… With the resonance of three days ...

As FACT celebrates its 20th birthday, Laura Marie Brown looks back at one of the arts organisation’s definitive projects: when artists from around the world trained residents in Liverpool’s high rise ...

“Doing better is the overarching motif of Kaleidoscopic Realms.” Mike Pinnington on a group exhibition putting learning disabled and neurodivergent artists front and centre… Kaleidoscopic: having ...

Thomas Dillon, Science Fiction Collections Curator at the University of Liverpool, talks us through the largest catalogued collection of science fiction materials in Europe… Hi Thomas. Tell us about ...

“He takes up the invitation to look, but also takes possession without payment – a visual act of shoplifting.” Curator Stephen Clarke on Too Good To Hide, a new exhibition of photography currently on ...

Tracking a philosophical line across the city, Mike Pinnington reports on drifting purposefully through the 13th edition of Liverpool Biennial… Liverpool Biennial 2025: BEDROCK, proposes, says ...

“As the midday sunshine streams through gallery windows, there is an almost tangible dread.” Mike Pinnington on finding the uncanny in the everyday subjects of Caroline Gorick’s After Hours… There’s ...

To mark their recent smash success with the Big Give appeal, Laura Robertson speaks to Arts Emergency CEO Neil Griffiths about why it’s absolutely essential to keep on advocating for working-class ...