In Gallery 1, Krzysztof Wodiczko uses technology and prosthetics to explore themes of immigration and displacement, as in the immersive installation Guests. In Gallery 2, Lucy Beech’s new film Pharmakon, co commissioned by Liverpool Biennial and FACT is an interpersonal drama that explores health anxiety and self diagnosis in an era of mass communication. And in the foyer, Yin-Ju Chen's Extrastellar Evaluations considers humanity from an extraterrestrial point of view.

Other works presented in our galleries will include the Homeless Vehicle Project (1988-89), where Wodiczko workedwith members of the homeless community in New York to create tools to aid their survival and communication. Another vehicle on display, Podium (1977-1979), is a platform for speaking, propelled forward by the strength and passion of the orator.

Lucy Beech’s new film, Pharmakon is presented as part of the Software episode, which points towards an understanding of technology stretching beyond its strictly functional use. Instead, it highlights technology’s ability to allow us into imaginative worlds.

Beech’s video and performance works often consider how emotions are instrumentalised in a capitalist context, especially exploring female group dynamics and public intimacy. Usually focused on female group dynamics, her practice uses choreography and disrupted narrative structure to explore public intimacy and competitive vulnerability.

Involving women in all aspects of her new commission, Beech’s new film explores experiences of health anxiety, and the management of abnormalities. Pharmakon is an interpersonal drama that explores health anxiety and self diagnosis in an era of mass communication, and engages with marginal communities that seek support via online networks – here, connectivity is both poison and cure.

In the foyer, Yin-Ju Chen’s Extrastellar Evaluations brings together evidence of Lemurian presence on earth. The land of Lemuria sank into the ocean thousands of years ago, but its natives have been living invisibly amongst us ever since. In the 1960s, some of them re-emerged using the identities of conceptual artists, and Extrastellar Evaluations considers the impact of this defining era on humans and Lemurians alike. Yin-Ju Chen’s primary medium is video, but her works also include photographs, installations and drawings.