About the project:
Throughout October and November 2012 we hosted artists/delegates for residencies at the new Commonwealth Culture Office (CCO) of the ICCEDF in Liverpool. This international cultural bureau aims to build crucial neo-liberal bridges between culture and commerce, develop a renewed jingoism, and export western ideals globally through the facilitation of cultural exchange. Building on the successes of the London 2012 Olympics the CCO of the ICCEDF will develop the glorious legacy of the British Empire through international cultural/ambassadorial events, commissioned artworks and branded stationery. We are committed to the belief that these activities, like the Liverpool Biennial, play a key role in neutralizing global difference, making important contributions to peaceful western gains through diplomatic soft-power strategies and international networking.
Further Information:- Visit the official webpage of the CCO of the ICCEDF
-Download the ICCEDF publication (PDF)
About the resident artistsAlison Lloyd
Matthew de Kersaint Giraudeau
Dr Michael Rogers
The Free University of Liverpool
- The Free University of Liverpool
For the second ICCEDF residency the Free University of Liverpool (FUL) came together in the heart of Liverpool's Freedom Quarter to develop a new manifesto. A group trip to Toxteth cemetery provided FUL with the opportunity to purge themselves of the inhibitions of their collective identity, mourning the scenario of their own burial and subsequently becoming enlivened by the prospect of their rebirth. A totem appeared in the form of a worm which mystically posed the question that would form the basis of the new FUL manifesto: 'where to now?'.
Jenni Cluskey and Sarah Stamp
Artists Jenni Cluskey and Sarah Stamp get the residency programme at the International Center for Cultural Exchange and Diplomatic Friendship underway, dividing their time between the 24 hour ASDA (part of the Walmart family) and the Liverpool Biennial exhibitions. Collaboratively they are working towards the establishment of a new institution which builds on the efforts of Sarah's Better Living Society and Jenni's examination of her personal relationship to capitalist economics, crucially coming together to address the issue – aren't we, as artists, just adding even more crap to the world?