How much of this is fiction. officially opened to the public last week, following a successful day of events that related to the main themes that run throughout the exhibition, including tours by its curators Annet Dekker and David Garcia.

How much of this is fiction. shines light on the issues affecting the current cultural climate; a climate shrouded in doubt following the ‘fake news hype’ and so-called era of post-truth politics. Several of the talks were led alongside collaboration curator Ian Alan Paul and exhibition designer Ruben Pater who explained how the exhibition aims to show works that interrogate, disrupt and question.

During the tour, Dekker explained the importance of the artworks featured in the gallery, including Ian Alan Paul’s Guantanamo Bay Museum of Art and History that references the global ‘war on terror’. Political and legal ambiguities that surround the detention facility are addressed by Arabian Street Artists' Homeland is not a Series – a piece dealing with themes of hacking, media frenzy and activists’ ingenious forms of rebellion.

The curators explained how the activists of this piece received no negative repercussions following their work and that there was in other words, no consequences for the artists - something I believe beautifully demonstrates the power of their activism in challenging a dominant American and hegemonic institution.

Dekker acknowledged the multi-layered structure of the exhibition, highlighting the various mediums and formats of the artworks, including for example video, installation, photography, graffiti and interactive gaming. Ruben Pater’s exceptional design physically splits the various media forms to create a logical spatial format that gives each piece physical space to create impact, whilst combining the works through key words featured on the floor that help the audience to locate and recognise relationships between the artworks. Upstairs in gallery 2, the tour entered the News Room and Torture Classics by artists UBERMORGEN, dealing with modern torture practices and the use of popular culture in order to enact ‘enhanced interrogations’. Torture Classics highlights the shift from physical torture methods to potentially more sinister attacks aimed to mentally affect victims.

The exhibition opened to the public officially on the evening of 2 March. The public opening featured guest-speaker Alistair Machray, editor of the Liverpool Echo, who praised FACT as an institution willing to raise challenging questions and create a space where collaborative works and hybridisation is celebrated. Machray congratulated the artists and members of FACT for displaying a great level of bravery in dealing with subject matter relating to the dramatic period of change and the role of the media in society. The exhibition features several commissioned works that interact fantastically with works from artists all across the globe - delving into the world of digital media during the turbulent and uncertain socio-political climate that we currently face.

How much of this is fiction. is showcased at FACT until 21 May.