I have always associated the summer months with waiting. Whether this has been waiting for University to start again, waiting for that elusive break or waiting for the sun to appear (although we are all still waiting for that); summer to me has always felt like a brief precursor to a larger event in the not so distant future.  This year has been no different.

With September approaching and Liverpool Biennial literally days away, it feels like the calm before the storm behind Tickets and Information here, or so to speak. This however, shouldn’t be read as a negative comment. There is a quiet optimism and rumblings of excitement generating about what we will be presenting over the next few months here at the Bluecoat.

Behind T&I, myself and my fellow Information Assistants have been engaging in speculation in regards to what our contribution to the International strand of Liverpool Biennial will consist of.

One of my colleagues, who I will refrain from naming, is utterly convinced that one of the dystopian facets of the exhibition will consist of an artistic intervention that, sadistically, involves Information Assistants ‘performing’ as the piece. I am sure I speak for my colleagues when I say that as long as we don’t have to don lycra and race up and down Gallery Two every minute until 6pm in tribute to the athletes that form Martin Creed’s latest work, then we would be rather pleased with just keeping a watchful eye on the work.