A guided tour of the exhibition with Rosie Cooper, Project Curator at Liverpool Biennial.

Claude Parent (FR) is one of the most radical figures of French avant-garde architecture, and La colline de l’art (Art Hill) is the latest demonstration of the oblique function — a principle of architecture he developed in the 1960s with theorist Paul Virilio. Defying convention, the idea proposes that buildings incorporate ramps and slopes, avoid right angles and be wall-free where possible. Within such constructions, bodies behave in new and unusual ways that heighten the senses as well as reshape interpersonal dynamics and hierarchies.

Meanwhile upstairs, an unusual assemblage of works from the Tate collection plays with the idea of a domestic environment. The objects that fill our homes, with which we interact and live every day, are here replaced with artworks that change these objects’ meanings and functions through scale, design, invention and misunderstanding. If this were a home, who would its owner be? What story would bring these objects together? What if everything about a home was filtered through an artist’s vision?