Tag Archives: exhibition

THOROUGHLY MODERN MAN: David Bowie is,V&A

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David Bowie is… is a disturbing exhibition.

For a start there is the large number of greying glam rockers feeling the agonies of unrequited love all over again as they stand mesmerised by Bowie costumes, videos and portraits. Then there is the problem of everybody wearing audio guides and shuffling around in the near-darkness like a troupe of zombies from some Diamond Dogs style dystopia. And there is the fact that the concentration of the Bowie phenomenon was the 1970s, forty years ago and there have been some less edifying creative moments since – this is addressed by ornamenting the full length of the show with 70s highlights thereby confusing any chronology and sense of evolution.

This is a new kind of exhibition: an examination of a single living individual as cultural catalyst and all round icon. There are not many artists who warrant such attention. David Bowie does. The blanket media coverage of his creative rebirth and the simultaneous hype surrounding this show have produced a dazzling glare illuminating, rather than over-exposing, his significance as musician, fashion pioneer and popular conceptualist.

The outfits are still extraordinary, the music is still inspiring and the man still appears exotically beautiful. Everybody is seduced by his art once again. However it is the way he redefined gender that is probably his most important legacy. Is there any more widely cited televisual epiphany than the draping of Bowie’s arm over Mick Ronson’s shoulder on Top of the Pops? That is the closest we have come to an extraterrestrial invasion – the starman blew our minds.

Continues until 11 August 2013, more information and become and V&A member here.

Written by a Thoroughly Modern Man, Chris Kenny.

THOROUGHLY MODERN MAN: Roy Lichtenstein, Tate Modern

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There’s no denying the cultural presence of Roy Lichtenstein – his expansion of comic book graphics is now more identifiable than the original genre. Along with Warhol, he narrowed the gap between art and life and made possible all the pop oriented art from the 60s to the present. The show at Tate Modern attempts to celebrate Lichtenstein’s inventiveness and creative personality beyond the mere appropriation of comic book imagery. By showing his redesigning of the source material (most obvious in the Tate’s 1963 painting ‘Whaam!’) they claim an autonomy and originality for him previously ignored.

On display is early and late work that has not been seen in the UK before that suggests an undiscovered variety within his narrow idiom. Lichtenstein was keen to assert the handmade-ness of his work so as to maintain his fine art credentials, but the early work is surprisingly slapdash and the mature work is so mechanical and perfect that the artist’s touch is invisible. The large room of his classic War and Romance pictures is undoubtedly the highlight of the exhibition, full of punchy, eye-grabbing icons – he is a consummate designer – however the curators’ ambition to present him as a subtle master with covert psychological depth is ultimately unconvincing.

Exhibition continues until 27 May 2013, more information and book here.

Written by a Thoroughly Modern Man, Chris Kenny.

Light Show, Hayward Gallery

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I’m delighted that Londoners are keen to see art exhibitions but it does mean getting tickets is a pain. The Hayward’s current exhibition, Light Show, is sold out almost every day, so tickets have to be booked in advance. It also means that when you do finally get inside you have to contend with hundreds of other visitors to see each work clearly.

Light Show explores the experiential and phenomenal aspects of light by bringing together sculptures and installations that use light to sculpt and shape space in different ways. The exhibition showcases artworks created from the 1960s to the present day, including immersive environments, free-standing light sculptures and projections. You see atmospheric installations and intangible sculptures, some that you can move around or even through. Visitors can experience light in all of its spatial and sensory forms. Individual artworks explore different aspects of light such as colour, duration, intensity and projection, as well as perceptual phenomena. They also use light to address architecture, science and film employing a variety of technologies.

Some pieces are rare not seen for decades and others have been created specially for the Hayward Gallery. It is amazing to experience and understand how light can stimulate our minds and alter our mood. I found some very beautiful and others quite disturbing, but all of them use light in innovative and creative ways that make you think.

Light Show features work by 22 artists including David Batchelor, Jim Campbell, Carlos Cruz-Diez, Bill Culbert, Olafur Eliasson, Fischli and Weiss, Dan Flavin, Ceal Floyer, Nancy Holt, Jenny Holzer, Ann Veronica Janssens, Brigitte Kowanz, Anthony McCall, François Morellet, Iván Navarro, Philippe Parreno, Katie Paterson, Conrad Shawcross, James Turrell, Leo Villareal, Doug Wheeler and Cerith Wyn Evans. Be warned that some installations in the exhibition contain artificial mist, flashing or strobe lighting, and others are sure to give you a headache if you watch for too long. I felt like I was entering another universe at times, the ethereal and glittering works certainly disorientate and surprise.

I was most stunned by Conrad Shawcross’ Slow Arc Inside a Cube IV made in 2009. This beautiful structural cage is very simple but with the gently moving light creates a complex game of ever-changing shadow and illumination, it is quite mesmerising. I also really enjoyed the special light filled rooms which feel completely immersive and are great fun to explore.

On the way out, the shop stocks examples of fabulous light objects and furniture. I fell in love with the romantic neon letters by Seletti. Buy your own individual letters for £35 each and make up any word (or work of art) you desire.

Continues until 28th April, book here.

Radio Salon, Shoreditch

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I think I’ve found a new favourite salon. In the last few years Shoreditch has grown in popularity enormously, with quirky coffee shops, independent boutiques and hip salons opening up every week. Radio Salon has something special to offer… real personality, in both the venue and the staff.

This spacious salon is located on Redchurch Street in the midst of East London activity. With a quaint cafe opposite and numerous nearby vintage stores, it is easy to spend the whole day wandering around this area. Radio has a slick modern look with clean, elegant design and fresh minimalist decor. The salon is also an art gallery, with regular exhibitions and events and ever-changing walls of work. Radio are also the flagship Bumble and Bumble store in London. Already a massive fan of this American brand of hair products, I spent a while perusing the organised shelves and admiring all the delicious shampoos, conditioners and styling creams.

The attention to detail here is impressive, I particularly loved the helpful handbag hanger clips that are secured onto the table in front of you. Soon I was secured in my protective gown and ready for my colour appointment with Sofie. We talked briefly about my desired effect, brighter and lighter dip dye, and how best to achieve it. Sofie was frank with me and explained that the tips of my hair were quite damaged and dry colour change would be tricky, but she would do the best she could.

Sofie worked her way systematically through my hair adding creamy blonde, and honey coloured highlights alternately, paying special attention to lighten the hairline. There was no time pressure which made the whole experience very relaxed, allowing me to enjoy reading Vogue while sipping my Prosecco! After a toner, the dye was washed out and I was treated to a heavenly head massage.

Upstairs Juri was waiting to cut my hair. He liked the style I had come in with, and as I was adamant about keeping the length we decided on a tiny trim, eliminating the worst split ends and making the whole hairstyle more straight and smart. I didn’t need to worry, he knew exactly what he was doing and worked swiftly. Promising me wavy locks, he twisted my hair with Bumble and Bumble surf spray and blow dried it ‘messy’. My hair seemed to miraculously double in volume.

The best salons are in Shoreditch, and after trying Radio, I think it is definitely a contender for the top spot. They offer every hair treatment, colour, cut or style you could ever want, plus an expertise and genuine passion for hair and art.

More information and book here.

www.radiohairsalon.com

Valentino, Somerset House

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I only had the chance to race round the Valentino exhibition at Somerset House. The show conveniently coincides with London Fashion Week, and I’m sure, like me, there are many journalists keen on seeing both.

This major new exhibition celebrating the life and work of Valentino showcasing over 130 exquisite haute couture designs worn by icons such as Jackie Kennedy Onassis, Grace Kelly, Sophia Loren and Gwyneth Paltrow in an exciting installation created specially for Somerset House.

The initial room displays photographs from his personal archive and invitations from influential fashion editors, designers and famous fans. It is interesting to observe these artefacts, the focus is shifted away from the clothes and instead offers a rare glimpse of the man, the genius behind them.

Upstairs a role reserval leads visitors down the catwalk, while they observe the dresses displayed on mannaquins on either side, including the cream organza evening ensemble with flower detailing worn by Audrey Hepburn, the white ecru georgette evening dress with lace applique worn by Jacqueline Kennedy and the black velvet and tulle evening gown with white ribbon detailing worn by Julia Roberts. Every dress has a story to tell. The catwalk seats are adorned with handwritten notes naming the influential women who have been a part of Valentino’s rise to the fashion throne.

Even if fashion is not your ‘thing,’ it is impossible not to admire these striking and sophisticated designs. I was pleased to notice that visitors ranged from keen students to animated children and adults in awe. Valentino is a designer with something for everyone to love. As you wander out, the show concentrates on the painstaking processes of crafting couture exemplified by the stunning wedding dress of Princess Marie Chantal of Greece.

I’ve seen many of the fashion related collections here but I must admit there is something special about this Valentino exhibit. And though it is a relatively small show for your £12 entry fee, the grandeur, beauty and exquisite tailoring on display is catwalk couture at its very best.

Continues until 3rd March, book here.

Hollywood Costume, V&A

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The Hollywood Costume signs have adorned the streets of South Kensington for a few months now. Every time I walked past I felt pangs of pain that I was not one of the many Londoners who had seen John Travolta’s white Saturday Night Fever suit in the flesh, stared adoringly at Dorothy’s ruby red slippers and witnessed the outfits of our best loved superheroes: Spiderman, Batman and Catwoman.

Turning up for my slot on a Thursday morning, I assumed the exhibition would be quiet, aside from a few tourists yet to return home after the Christmas break. I could not have been more wrong, the place was heaving, crowds of queuing fans, each desperate to get a glimpse of their favourite character’s costume. Overwhelmed by the excitement and stifling lack of space, I decided my visit would have to be brief.

The exhibition explores the central role of costume design – from sensitive and subtle to extravagant and glamorous. In this grand show there are over 130 iconic costumes, each designed for unforgettable cinema characters over a century of film-making. There are three galleries to enjoy:

Deconstruction: The exhibition starts with an introduction to the role of the costume designer in cinema. By illustrating the link between clothing and identity, the viewer can begin to understand how designers create a character though costume.

Dialoque: This room examines the relationship between filmmaker or actor and the costume designer, and how they work closely together to create a character visually. The Dialogue section includes two close case-studies of Robert De Niro and Meryl Streep who discuss the importance of costume and how crucial it is in developing a character.

Finale: The sparkling final room concludes the exhibition with some of Hollywood’s most memorable moments, presenting the best known costumes from cinema history.

For me it was lovely to see the early outfits that hark back to stars of the past: suits from Charlie Chaplin’s silent pictures and Holly Golightly’s little black dress worn by Audrey Hepburn in ‘Breakfast at Tiffany’s’. As well as exhibiting the clothes beautifully, and often props too, the V&A manages to outline a brief narrative for each costume… explaining the important features and giving some context.

I loved the whole exhibition but it is the final room that really thrills… seeing these magnificent, famous costumes in the flesh, which provide such an important role in preserving the memory of a character, it is easy to dream of your favourite film star standing before you in the flesh.

Continues until 27 January 2013.

More information and booking here.

http://www.vam.ac.uk/content/exhibitions/exhibition-hollywood-costume/

Chris Bracey’s Circus of Neon: God’s Own Junkyard, Soho

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Chris Bracey is known as the Neon King for good reason. His neon works have appeared behind some of the greatest stars, and his fluorescent masterpieces have been made for numerous prominent patrons. With a cult following in London and LA, his work with light continues to shine from Soho across the World.

Bracey learnt the trade from his father who was a neon signmaker for fairgrounds, circuses and amusement arcades. In the 1950s, at a time of post war gloom and doom the light of neon was more inspiring than ever. Years on and his prolific work has played a significant role in transforming and reinventing the Soho aesthetic. His big break came when a Soho club owner allowed him to make a sign for the venue, at cost price, with the condition that Bracey could design it however he chose. The Pink Pussycat Club set a standard and soon everyone wanted an outrageously alluring Bracey sign.

The recent exhibition “God’s Own Junkyard” exhibits new pieces and archived works from his vast collection, encompassing key pieces from his three decades of work in art, fashion and cinema. Needless to say I completely loved it. On a quiet winter day the Circus of Soho shop window lights up the street so exuberantly that you can’t help but stare into the room of sparkles. There is something undeniably sexy about neon, the piercing glow and magical colours. I have always adored its qualities, so much so that this year I was presented with my own handmade Thoroughly Modern Milly TMM neon sign for Christmas.

The crowded collection at God’s Own Junkyard is utterly compelling and addictive… I couldn’t stop taking photos. “Non Stop Strip”, “Love & Lust”, “Sandwiches and Pastries” they read… neon manages to glamourise everything. Chris Bracey says on the subject: “Like any work of art, it’s got a spirit. Neon is only happy when it’s on, when it’s alive.” God’s Own Junkyard is a glowing place of happiness and excitement, where neon never dies and dreams live on.

More information here.

Ballgowns: British Glamour Since 1950, V&A

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Looking round the costume department at the V&A is one of my favourite lunchtime activities, so I was very excited when the Ballgowns exhibition was announced. This show is part of the British Design Season and celebrates the opening of the newly renovated Fashion Galleries at the V&A.

Wandering round the Victoria and Albert Museum alone is always enchanting, with another magical artefact to discover on each visit. On a sunny Thursday lunchtime, the galleries were teeming with culture hungry visitors. The space allocated to the Ballgowns was very dimly lit with women gathering round each garment nattering away about the material, cut and colour. I tried to dodge the students discussing and furiously sketching to get a good look at the clothes myself.

Ballgowns: British Glamour since 1950 showcases some of the most fabulous dresses from the last six decades up to the present day. The collection includes catwalk showstoppers, red carpet attire and beautiful occasion dresses. There are more than sixty designs on display, including several notable royal dresses, of which Princess Diana’s ‘Elvis Dress’designed by Catherine Walker is perhaps the most spectacular. Every dress has a story and it is fascinating learning the history of these couture gowns. Many of them have been designed and made especially for a particular individual or celebrity and so the style relates to their character and role in society, and truly captures a moment.

Interestingly the dresses are arranged and exhibited by colour rather than date. Every ballgown has a timeless elegance and yet the obvious era changes and shifts in society are evident in tailoring and shape. The development of new ideals can be seen in the radical move from tight restrictive corseted dresses to floaty ethereal gowns that skim rather than cling to a women’s figure. I was a particular fan of the bigger more ostentatious dresses, the fairytale princess gowns that would look so uncommon and bizarre at the parties I go to but must suit the society balls that I would love to experience, just once.

On the Mezzanine level contemporary ballgowns are displayed, some of which are straight off the catwalk: luxurious, extravagant and utterly stunning gowns dreamed up and carefully created by world-renowned designers including Alexander McQueen, Erdem, Roland Mouret, Marchesa and Mary Katrantzou. I loved the remarkable feather gown, and the crystal encrusted dress that Beyonce donned for her performance for the Obamas.

This exhibition is certainly the fashion show of the season… I left wishing the dresses were in my wardrobe.

Ballgowns: British Glamour Since 1950, sponsored by Coutts, runs at the V&A from 19 May 2012 – 6 January 2013.

http://www.vam.ac.uk/

Burtynsky: OIL, Photographers’ Gallery

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I was impressed when my younger brother told me he was spending his Saturday visiting an exhibition. Amazed by his proactivity I joined him on his mission into central London.

The Photographers’ Gallery just off Oxford Street reopened in May after an eighteen month refurbishment. This space is the country’s original independent gallery devoted to photography and the top two floors of the building are currently exhibiting Edward Burtynsky’s epic photos examining our dependence on oil.

The images depict landscapes affected by oil distribution and extraction – vast, often ugly views captured exquisitely by Burtynsky. The immense works are so detailed they look almost velvety in texture and are as awe-inspiring close up as they are from a distance. This Canadian photographer tells a story through each individual picture. Through “aerial views of oil fields and highways ribboning across the landscape, derelict oil derricks and mammoth oil-tanker shipbreaking operations, we are confronted with the evidence of our dependence on this finite resource.” They are very still and poignant photographs, people are almost entirely absent from the images creating a curious atmosphere and perspective.

Burtynsky has travelled the world to find these unique expansive spaces that show the rarely seen effects oil has on our planet. Aside from being utterly spectacular photographs, this exhibition is a lesson and reality check from which we could all benefit.

Continues until 1 July. Free entry. Visit website here.

It is worth visiting the shop downstairs too for weird, wonderful and rare film, cameras and books.

Damien Hirst, Tate Modern

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The new Damien Hirst exhibition at Tate Modern is essentially all about dots, death, decay and diamonds. Thinking back through the collection every piece seems to fit into one of these dramatic categories.

Forever making a statement, Hirst’s work aims to shock and surprise and though I can sometimes be cynical of this (generally) overrated artist, I was impressed with the display and variety in the Tate’s exhibition.

The show is the first major survey of Hirst’s work to be held in London and features the most famous and controversial works from throughout his career. Born in 1965 in Bristol, he grew up in Leeds and while studying art at Goldsmiths, achieved recognition from the exhibition Freeze, which he curated in 1988. He became known for his daring and provocative works such as the shark suspended in formaldehyde, ‘The Physical Impossibility of Death in the Mind of Someone Living’ 1991.

Perhaps the most disturbing pieces in this show are the poor animals chain-sawed in half to create symmetrical parts. Set in tanks of formaldehyde the organs are still and serene, now merely an object replacing life. In one of the first rooms a recently detached cow’s head is skinned, raw and bloody on the floor, flies swarm around, it is foul and yet captivating. It is called ‘A Thousand Years’ (1990) and supposedly captures a whole life cycle.

The organised pill cabinets are perhaps the most aesthetically satisfying and pleasing pieces in the show. Colour coordinated tablets sit on thin silver shelves as part of a huge work. ‘Lullaby, the Seasons’ (2002) is really quite beautiful, layers and layers of multicoloured pills, medicine as art soothing the eye just as it remedies our ailments.

There is some excitement to be had in the installation ‘In and Out of Love’ 1991. Guests are invited into a specially maintained humid enviroment where white canvases embedded with pupae hatch and live butterflies flutter freely amongst the visitors. Again Hirst touches on themes of life and death, beauty and cruelty. In the adjacent room colourful pictures are made by dunking dead butterfly wings in paint.

The final rooms show Hirst’s more recent preoccupation with money, wealth and specifically diamonds. Pieces holding thousands of pounds worth of meticulously arranged glittering diamonds sparkle unlike anything you have ever seen before. It is like entering a chest of jewels, and doesn’t feel real. These opulent works revisit old ideas but now in an entirely new form.

Whatever your preconception is, the Damien Hirst is definitely worth seeing, even if just to fuel your curiosity.

Exhibition continues at the Tate Modern until 9 September, book here.