The Liverpool Biennial 2023, titled uMoya: The Sacred Return of Lost Things, presents a striking and emotionally charged examination of slavery, colonialism, and their ongoing impacts. Set against the historically significant Albert Dock, once a hub of Britain’s transatlantic slave trade, this year’s Biennial juxtaposes past horrors with opportunities for renewal and healing. Spanning eight venues and five outdoor installations, the Biennial features 35 artists whose works explore the tension between remembrance and resilience.
Powerful Artistic Statements on Slavery and Colonialism
The Biennial opens with Torkwase Dyson’s three monumental sculptures at Tate Liverpool. Weighing 750kg each, these curved, ship-like structures evoke vessels that once carried enslaved people across the Atlantic. Their proximity to Britain’s first commercial wet dock, built in 1715, creates a haunting connection between history and art.
At the Tobacco Warehouse, Binta Diaw recreates the infamous Brooks slave ship diagram using soil. The installation’s life-sized scale and narrow soil mounds vividly illustrate the inhumane conditions aboard slave ships. Within the soil, seeds sprout small shoots, symbolizing both the resilience of enslaved individuals and the potential for renewal. A recording of M NourbeSe Philip’s poem Zong! reinforces the raw reality of the slave trade, repeating the harrowing phrase: “The truth is.”
Albert Ibokwe Khoza’s The Black Circus of the Republic of Bantu at Tobacco Warehouse delves into the disturbing history of human zoos and ethnological expositions. With remnants of a provocative performance, including masks, whips, and tutus, Khoza’s work confronts the humiliation endured by generations of Black people.
Healing Through Art and New Futures
While the Biennial does not shy away from pain, it also emphasizes the potential for healing. Its title, uMoya, an isiZulu word meaning “spirit” or “soul,” speaks to this duality. Curator Khanyisile Mbongwa envisions the Biennial as a space for imagining “our way through the wound” and fostering collective healing.
At Tate Liverpool, Guadalupe Maravilla’s Disease Thrower sculptures stand as symbols of transformation. These towering works, made from found objects and natural materials, are inspired by the artist’s migration from El Salvador to the US and his battle with cancer. Used in healing rituals, the sculptures merge trauma with empowerment, demonstrating art’s ability to inspire recovery.
Francis Offman’s installation balances the horror of Rwanda’s genocide with elements of beauty and connection. Using books wrapped in repurposed coffee grounds—a key Rwandan export—and colonial-era callipers, Offman juxtaposes the dark history of racial segregation with the nation’s enduring cultural richness.
Dialogue and Community: Art as a Shared Experience
The Biennial also fosters conversation and community. At Bluecoat, Nicholas Galanin’s video work celebrates marginalised languages, while Kent Chan’s film critiques colonial practices of collecting artifacts. FACT’s Belinda Kazeem-Kamiński offers a meditative solution to processing the past with Respire (Liverpool). This participatory installation invites visitors to breathe together, emphasizing that healing is a collective act.
A Unified Vision of Reflection and Renewal
Liverpool Biennial 2023 excels in connecting a complex theme across its diverse venues. From searing depictions of slavery to hopeful visions of the future, the Biennial demonstrates the transformative power of art. Whether through personal stories, historical critiques, or communal experiences, the Biennial creates a space where past, present, and future collide to inspire meaningful change.