Ahhhhh… David Koma. One of London‘s most feted new design talents and a hot ticket on a Tuesday you would think, cialis 40mg but this show was far from full let alone packed, viagra with people scurrying forwards to the front row from all sides as the show began. Beneath the glassed roof of the old Waterloo Eurostar terminal David Koma presented a beautiful collection on some so-so models. I’d heard rumours that an early start to Milan was dragging off the more important parts of the fashion industry but if ever there was proof this was it.
Despite some very interesting jutting heads and flapping arms I loved this collection, wherein David Koma played with shapes and textural movement like never before. A silky cream coloured concoction opened the show, with what amounted to a huge belt gathered at the waist into multi-layered loose pleats, inspired by African Zulu style. Underneath the most gauzy of under garments represented the majority of the dress, cut up by abstract devore shapes that were inspired by a combination of Polynesian tribal body paint and the work of artist Kim Joon.
A gradual hint of summery colour was brought to the proceedings through the use of lime green and bright rose pink on sleeves and behind the devore cut outs in chest panels. As in many other collections skirted shapes encompassed both pencil and a wider skater shape, but because of the layering it was here that the different looks worked at their seamless best.
With a rattle of swaying hips iridescent perspex adornments – a collaboration with jewellery designer Sarah Angold – began to spread across thighs and breasts. A series of inky black dresses were highlighted in turquoise before the final pieces became engulfed in an oily rainbow of perspex embellishment, this time repeated in exquisite pearlised sequin designs paired with more of that luscious lime. Yum.
David Koma S/S 2011. All photography by Amelia Gregory.
Written by Amelia Gregory on Wednesday September 28th, 2011 2:47 pm
Falguni & Shane by Xenab Lone Jamil
Falguni & Shane by Xenab Lone Jamil.
The invite for Falguni & Shane Peacock showed a plethora of jewelled leopards photoshopping their way out of a bodiced mannequin, symptoms in a shower of what looked feasibly like a large quantity of blood. Rendered in soothing hues of beige, closer dissection of what appeared at first glance to be quite tasteful revealed an image that was a little more disturbing. What could it all mean?
Fortunately, or perhaps unfortunately, the design of the invite bore little relevance to the Falguni & Shane Peacock show early on Sunday morning at Victoria House, notable in it’s organisation for being quite disorganised. Looked after by Blow PR this weren’t. People piled in and sat wily nily where they fancied. No press bitches to move us along… always good for a front row seat I find. And the audience was indeed very different from other shows – featuring a preponderance of bejewelled, sunglass-bearing Asians and identikit gay men with badly bleached hair and orange skin.
It came as no surprise to discover that Falguni & Shane Peacock are from India, with a publicity shot straight out of the Bollywood school of chic. “Where other designers travel thousands of miles for the luxury of the world’s largest selection of high quality fabrics and embellishments, the dynamic designer couple have it all at their fingertips,” trumpeted the publicity blurb. “They create and manufacture in-house at their factories and employ over 200 highly skilled seamsters and embroiderers.” Er, I’m sorry but I’m not sure that’s a particularly special feature if we’re talking clothing made in India. I think, for instance, that our very own Monsoon could probably claim the same kind of thing. Now what I would be interested in is the conditions of said employees, having spoken widely to designers working in the Indian fashion industry for issue 10 of Amelia’s Magazine, and being well aware of the level of equality (or lack thereof) for garment workers in that part of the world.
But maybe I’m just being mean, because Falguni & Shane also “support many charity causes relating to children and cancer.” Do you see what they did there? Children and cancer folks. You don’t get much more saintly than that.
Falguni & Shane Peacock. All photography by Amelia Gregory.
Anyway, I digress. What were the clothes actually like? Well, there was no blood and no leopard print (very disappointing for an animal print fan like myself). Instead a succession of dresses in ultra sheer fabrics skimmed over naked bottoms unadorned with the bright geometrics applique and metallic frippery that adorned the fronts. According to the press release inspiration came from the abstract graphics of the 80s, but it’s amazing how an Indian sensibility can transform this into something so much more, well, glitzy. It isn’t hard to picture these clothes worn by Bollywood starlets – even, or perhaps because of, their revealing nature, for times have changed on the sub-continent, even if a taste for maximalist embellishment lives on.
The most interesting piece was a sculptural turquoise dress, unfortunately worn by a particularly galumphing model who did its shape no justice. It was interesting to note that Falguni & Shane chose to totally eschew Indian models – maybe we don’t have enough, utter madness given the huge Asian diaspora in the UK – in favour of a host of slightly ropey models in every other colour under the sun.
But what really intrigued me is why Falguni & Shane decided to show in London at all. It must have cost a fortune to put this show together, and their sensibility is very much geared towards their home audience. Perhaps they have their sights set on a potentially lucrative ex-pat community, which further begs the question, why not find models better suited to show the collection? Or perhaps the presence of the orange over-coiffured gays signifies a desire to hit the ex Page Three girl market. I might mention Jordan briefly here. There, I just did it. Jordan. See, did it again. Wonder how this will affect my website stats? Move along now… Sorry, no fake boobs/badly dyed wigs/car-crash marriages here.
And I’m not sure about that legendary craftsmanship – apparently the runway was littered with beads and bits of applique once the show was over.
To be honest I had not heard of the Threadneedle Prize before nor was I rushing to attend the preview party on Wednesday the 1st of September. The Mall galleries have managed over the years to develop a reputation as the purveyor of stuffy exhibitions.
Phenomena (1) courtesy of Jarik Jongman
But no! No this new cool kid on the block of a prize with its decisively rock n roll intention of freeing figurative art from the shackles of conceptual taste. Move over Turner Prize. It was a nice surprise to get acquainted with this young show at a time when similarly funded prizes are running scarce and the government siphons money erstwhile dedicated to the Arts to programs deemed more “in the public’s interest”.
Oil Baron courtesy of Martin Roberts.
Detail of Moon Loght courtesy of Mark Entwisle
Let’s huff a long sigh of relief! At last art on display that does not pretend to be what it’s not… Yep, this dedicated art lover has been more than once unimpressed by the shovelful of bad abstract material pushed down her throat! But let’s not be mistaken by what kind of art Threadneedle is offering us either; theirs is a bold break from the past with a new kind of figurative art that does not pretend to ignore the Tate came that way and altered the artistic landscape.
Displace courtesy of Louise Folliott.
This second will last forever courtesy of Fiona Finnegan
This year the public is encouraged to choose the Visitor’s Choice award’s £10,0000 winning entry. Let me tell you what I was definitely not going to vote for! Some things seemed rather gimmicky to me such as the upside down portrait of Georgina by Oliver Jones. It’s upside down so it is clever so it’s in?
It’s a Bloomin’ Marble! courtesy of Garry Martin
Plexus courtesy of Valerie Jolly and Toilet Pipes courtesy of Thomas Doran
The exhibition’s booklet read, “our selectors have chosen a smaller but more coherent exhibition than previous years” with 2,170 submissions to arrive to a final 46. So why in the world choose such dreary artefacts that seemed to me to make more of a statement than to offer any redeeming value to the overall group! I was mightily unimpressed by Simon Carter’s Gulls on a Breakwater – it’s representational but hey look, doesn’t it seem abstract? Or Enzo Marra’s John Singer Sargent- it’s got thick paint and tonal Sargent palette. Is that all? Toilet pipes seemed to be all the rage this year…
But to be fair the overall level of work on display was very high. I fell in love with the sculptures and installations. Man on Fire by Tim Shaw (see above) got me all worked up and Stuart McCaffer (see below) got the crowd queuing to enjoy its view! Built like a shed, it reminded me of a watchtower somewhere in the Scottish Highlandds. The dichotomy between the sense of isolation and of space and freedom was interesting.
The prize spoke to me most when it was attempting to be political, daring, intriguing or just plain funny. Special mention to Wendy Elia’s Elsewhere, Jarik Jongman’s piece or the Anna Adamkiewicz cabinet.
Cabinet courtesy of Anna Adamkiwicz
Elsewhere courtesy of Wendy Elia
Frame, Figure, Frame, Figure courtesy of Caroline Walker
But my personal favourite was Caroline Walker’s surreal narrative. I am still haunted by the evocative psychological space this painting put me in. Very troubling.
Clee Hill courtesy of Boyd and Evans
The Threadneedle Prize for painting and sculpture runs until the 18th of September 2010 at the Mall Galleries, the Mall, London SW1.
Written by Valerie Pezeron on Wednesday September 15th, 2010 10:20 am
Ladies and gentlemen, I introduce to you: First Thursdays – a new East End art innitiaive conjured up by the Whitechapel art gallery and Parasol Unit. Fully supported by those good fellows at Time Out, First Thursdays asks, simply, that the multitude of galleries that populate this bizarre cultural nub we call the East, stay open until 9pm – allowing, presumably, the hard working folk of London to saunter up after hours and check out the abundance of wonderful art the scene has to offer.
By 8pm, the well-worn tributary of Redchurch St – home to Museum 52 and other assorted spaces – was like the Circus Maximus. Thronging crowds, heading either to or from the opening of Martin Creed’s exhibition at Hauser and Wirth’s Coppermill space flowing down the road biblically.
Right, I think… I shall go to the Coppermill and review Creed’s show.
This plan is immediately thwarted. An ebbing, thronging multitude of young and old art tarts has formed, not a queue, but a bolus like human assemblage at the entry. The bolus swells and boils, some voices are raised … some tempers are flared. I should have known really. Upon my arrival I noticed that the railings of Cheshire Street were smeared with loads of pushbike action: the sure litmus test of a successful East End art event being the cycle tally.
I retire. I’m not going to bother. I shall return ‘semi-triumphantly’ in the morn and have the spread to myself. Yes, I shall review Creed in the morning.
I return in the morning (lunchtime). As expected the place is empty if only for the occasional whiff of spilt beer and pantomime left over form the previous night
As I saunter towards the entry to the main exhibition space (a cavernous, soon to be reclaimed, warehouse) the words of a lady friend of mine (who’s name, for dignity’s sake will remain undisclosed) uttered the night before at the post First Thursdays event at Bistroteque, rang clear. Upon my issuing of a series of reasonable inquiries about the show, she announced in response to my questioning – “It’s got a projection of the most beautiful cock”.
Really …
At the time I recall ignoring the desire to inquire as to what criteria she was applying to her aesthetic analysis of the cock in question, I remember thinking, oh well, I’ll see for myself, make my own mind up as to whether it is beautiful or not.
Right on cue, upon entering the space, I notice a giant cock. It’s alright. Not bad. Beautiful? Not sure, perhaps I should leave that to the Ladies. In crisp black and white the cock is rhythmically entering a woman from behind; for just over four minutes this hypnotic operation is performed. Accompanying the film, in the far corner of the large warehouse space, a rather stern looking pianist (not penis) slowly plays an escalating scale on a rather ropey looking piano.
As I later find out, the previous night had featured a comically arranged orchestra playing similar ascending scales. Not today. Today we only have the piano and girl for company. Looking around, the scene is the usual Spartan field we have come to associate with Creed’s work. A collection of seemingly divorced objects sit together awkwardly; a large sculpture made from industrial planks, a Serra-meets-Morris type bit of metal, some nails, some paintings – both figurative (a girls face) and abstract (diagonal lines as usual) – and a neon-sign that turns on and off (as do the warehouse lights after each four odd minute film screening – remember the Turner Prize?).
All in all, well… it’s stylish isn’t it, it looks good. Rather than heralding the return of a pure aesthetic to the sparse sphere of his remarkably well-received super-post-minimal art, I rather feel that Creed is the arch constructor of delightful, enchanting even, pools of entirely numb, insubstantial and vapid non-conceptuality (concepts create, among many other things, ‘meanings’, this does not) that simply feel right. Maybe this is the point, maybe not. I’m not sure I care, because I’m off for a beigel.
Written by James Edwards on Sunday June 3rd, 2007 2:21 pm
Side-projects by band members can be hit and miss affairs- it’s either a radical departure from the “day job” or sounds so similar that you end up thinking, cialis 40mg “why did they bother?” Brooklyn trio the Depreciation Guild (who feature two members of indie-pop darlings the Pains Of Being Pure At Heart) luckily veer more towards the former.
Playing a string of UK dates before joining you-know-who on tour, remedy the Depreciation Guild fetched up at the Old Blue Last in front of an audience equally as curious to check them out.
Despite having already released one album in the US, 2007’s In Her Gentle Jaws, and with single Dream About Me out at the moment, I think they were still a largely unknown quantity amongst the Shoreditch cognoscenti.
Kurt Feldman had swapped the drum-kit of the Pains Of Being Pure At Heart for lead vocal and guitar duties, and was joined by fellow POBPAH wanderer Christoph Hochheim on guitar, with Anton Hochheim on drums. Backed by a lightshow not normally found in East London boozers, the Depreciation Guild treated us to a set of classic shoegaze. Whilst the influence of My Bloody Valentine is never far from the surface of the Pains Of Being Pure At Heart’s sound, here the spectre of Kevin Shields looms large. From the overdriven guitars to Feldman’s indistinct vocal delivery (which, ironically, is spookily similar to POBPAH compadre Kip Berman’s) it could almost be 1991 again, save for some bonkers 8-bit electro backing which sounds suspiciously like a Nintendo Gameboy.
Some of the poppier sensibilities of the Pains Of Being Pure At Heart do occasionally creep in, with songs like Butterfly Kisses sounding not unlike Feldman’s “other” band. There was an emergency guitar change before an ear-searing finale, after which Kurt Feldman had to go and man the merchandise table. He’s certainly not afraid of multi-tasking!
I think the Depreciation Guild certainly made an impression tonight amongst those (like me) who weren’t quite sure what to expect. Musically, their heavier sound is not a million miles away from that of the Pains Of Being Pure At Heart, and it’ll be interesting to see how they go down with the latter’s fans when they share stages (as well as drummer and guitarist) in the next month or so.
Side-projects by band members can be hit and miss affairs- it’s either a radical departure from the “day job” or sounds so similar that you end up thinking, troche “why did they bother?” Brooklyn trio the Depreciation Guild (who feature two members of indie-pop darlings the Pains Of Being Pure At Heart) luckily veer more towards the former.
Playing a string of UK dates before joining you-know-who on tour, the Depreciation Guild fetched up at the Old Blue Last in front of an audience equally as curious to check them out.
Despite having already released one album in the US, 2007’s In Her Gentle Jaws, and with single Dream About Me out at the moment, I think they were still a largely unknown quantity amongst the Shoreditch cognoscenti.
Kurt Feldman had swapped the drum-kit of the Pains Of Being Pure At Heart for lead vocal and guitar duties, and was joined by fellow POBPAH wanderer Christoph Hochheim on guitar, with Anton Hochheim on drums. Backed by a lightshow not normally found in East London boozers, the Depreciation Guild treated us to a set of classic shoegaze. Whilst the influence of My Bloody Valentine is never far from the surface of the Pains Of Being Pure At Heart’s sound, here the spectre of Kevin Shields looms large. From the overdriven guitars to Feldman’s indistinct vocal delivery (which, ironically, is spookily similar to POBPAH compadre Kip Berman’s) it could almost be 1991 again, save for some bonkers 8-bit electro backing which sounds suspiciously like a Nintendo Gameboy.
Some of the poppier sensibilities of the Pains Of Being Pure At Heart do occasionally creep in, with songs like Butterfly Kisses sounding not unlike Feldman’s “other” band. There was an emergency guitar change before an ear-searing finale, after which Kurt Feldman had to go and man the merchandise table. He’s certainly not afraid of multi-tasking!
I think the Depreciation Guild certainly made an impression tonight amongst those (like me) who weren’t quite sure what to expect. Musically, their heavier sound is not a million miles away from that of the Pains Of Being Pure At Heart, and it’ll be interesting to see how they go down with the latter’s fans when they share stages (as well as drummer and guitarist) in the next month or so.
Side-projects by band members can be hit and miss affairs- it’s either a radical departure from the “day job” or sounds so similar that you end up thinking, viagra 100mg “why did they bother?” Brooklyn trio the Depreciation Guild (who feature two members of indie-pop darlings the Pains Of Being Pure At Heart) luckily veer more towards the former.
Playing a string of UK dates before joining you-know-who on tour, sildenafil the Depreciation Guild fetched up at the Old Blue Last in front of an audience equally as curious to check them out.
Despite having already released one album in the US, 2007’s In Her Gentle Jaws, and with single Dream About Me out at the moment, I think they were still a largely unknown quantity amongst the Shoreditch cognoscenti.
Kurt Feldman had swapped the drum-kit of the Pains Of Being Pure At Heart for lead vocal and guitar duties, and was joined by fellow POBPAH wanderer Christoph Hochheim on guitar, with Anton Hochheim on drums. Backed by a lightshow not normally found in East London boozers, the Depreciation Guild treated us to a set of classic shoegaze. Whilst the influence of My Bloody Valentine is never far from the surface of the Pains Of Being Pure At Heart’s sound, here the spectre of Kevin Shields looms large. From the overdriven guitars to Feldman’s indistinct vocal delivery (which, ironically, is spookily similar to POBPAH compadre Kip Berman’s) it could almost be 1991 again, save for some bonkers 8-bit electro backing which sounds suspiciously like a Nintendo Gameboy.
Some of the poppier sensibilities of the Pains Of Being Pure At Heart do occasionally creep in, with songs like Butterfly Kisses sounding not unlike Feldman’s “other” band. There was an emergency guitar change before an ear-searing finale, after which Kurt Feldman had to go and man the merchandise table. He’s certainly not afraid of multi-tasking!
I think the Depreciation Guild certainly made an impression tonight amongst those (like me) who weren’t quite sure what to expect. Musically, their heavier sound is not a million miles away from that of the Pains Of Being Pure At Heart, and it’ll be interesting to see how they go down with the latter’s fans when they share stages (as well as drummer and guitarist) in the next month or so.
The ExtInked project dreamt up by the Ultimate Holding Company to mark Charles Darwin’s bicentennial birthday is no doubt one of the most unique and amazing projects I’ve heard about in a long time. Along with an exhibition illustrating 100 of the most endangered animals in the British Isles, viagra 40mg the event came to an astounding conclusion with the tattooing of 100 volunteers who then became ambassadors for their animal. So as the exhibition closed yesterday, what is to become of the ambassadors, now back in their natural habitats?
My friend Tom was lucky to be involved in the project and here he shares his experiences with me.
So why did you take part in the ExtInked Project?
Since getting involved with UHC sometime last winter, I’ve been a part of a number of really interesting projects with them. ExtInked was something they have been talking about for a long time and the idea always really appealed to me. I think it’s a really great thing to be a part of, people have learned so much about which animals are endangered and hopefully will think about why that is, and what can be done about it. For me, I try to make a lot of environmental decisions in my life and feel extremely passionate about the use of animals and our finite natural resources for human gain.
Wildlife conservation and the environment are extremely important, in our relatively short time on this earth we have managed to destroy so much. Positive and big things are happening from the ground up. There is a fast growing environmental movement, but the important decisions need to be made from the top, which, unfortunately is not happening nearly enough.
It seems easier for leaders of governments and corporations to pretend they are doing something, rather than making an important change, that could make a really big difference.
Ext Inked was a great way to be involved in one of the most creative bottom-up environmental actions I know of, I now have a species permanently on my body, which throughout my life no doubt, hundreds of people will ask about, and I will be able to tell them the information I learned about that particular species, the project, the movement, and, in my case, the RSPB and other organisations helping to protect birds in the UK.
Which animal did you get? Tell me about the tattoo!
I went for the Black Grouse; I love birds, so for me it had to be a bird. The black grouse is found in the north of England, much of Wales and Scotland. I think to me, it was important to get something that I would be likely to come into contact with, I love golden eagles and leatherback turtles, but I’ve never seen either unfortunately! I don’t think it really matters too much which species I had tattooed though, as it’s more about the project and the issues as a whole than one particular species.
Photograph taken by Jai Redman
Tell me about the experience! What happened when you went to Manchester?
We went along on the last day around lunch time, which was bit quieter than when I visited on the Thursday night. I was quite pleased about that as all the tattooing happened much like a tattoo convention. There were barriers up at the front, and a stage with the three tattooists from Ink vs. Steel in Leeds, tattooing live in front of whoever was there to watch. As it was my first tattoo, and I didn’t know how much it would hurt, I was a bit nervous about being watched!
I thought I was being tattooed at 1 o clock, but somebody was running late, and I was early, so they switched our places, I didn’t really have any time to feel too nervous, before I knew it I was laid face down, being tattooed. I’d be lying if I said it didn’t hurt, because it did, but the mix of the atmosphere, and the rush of adrenaline you get puts you in a really strange place. I just laid their trying to work out how much it hurt and which bit he was doing, it was actually a pretty good feeling! Having had the tattoo a couple of days now, the pain seems totally insignificant.
Your girlfriend was part of the project too wasn’t she?
My girlfriend Sally got involved too; she got the Rampion Bellflower on her inner arm. She has a lot of tattoos already, so I think she probably had a different experience to me, although she was still a bit nervous. She was really excited to be a part of the project and has already done some good work telling people about the project and spreading the word! Sally is a very creative person, but isn’t able to be too involved in art, so I think it’s great that she really connected with this project and was really receptive to the ideas artists had on conservation.
What about the future? How do you think you’ll feel about the tattoo in 20 years time?
In twenty years time I have no idea how I will feel about the tattoo, but the more I live, the more I learn, and the more I learn, the more passionate I become.
Climate change and human activity is affecting our wildlife, and that’s only going to get worse unless we act quickly and dramatically. If we act now, while we still have a bit of a chance, I will be able to look at my tattoo and think, I’m glad we did something, and If not, I don’t think anybody will see it because my leg will probably be under water!
To examine artists on display in regards to their own sense of what is intangible; what is the unbeknownst? Cecily Brown (one of the five artists displaying), buy more about once elucidated of her method; ‘Often, I find it really hard to see what I’m doing when I’m in the thick of things (painting).’ This seemed a resonant befall to take into the exhibition, and one that permeated throughout; the artist’s blindness filtering down to the viewers’ perception.
All photographs by Stephen White, courtesy of Parasol unit
On entering the chic industrial space of the Parasol Unit, the viewer is introduced to Katy Moran’s installations of small, yet expressively fueled paintings. Ambiguous and ethereal spaces, you are inserted into a void of instability. She is emphatically a cannon for the abstract. Sometimes unsettling, occasionally frustrating (primarily by the evasive titles), but most of all, her paintings are enchanting. Staring into a framed space of colour and shape, for example Daniel, the warped style within the pieces allude to envisions of nothingness that are quite remarkable.
Shaun McDowell, renowned for his part in the Peckham art squats, uses colour and technique in a vast and expansive means. Glaringly bright and expansively detailed, what initially looks like a lot of fun swiftly augments to a somewhat dark and unnerving visage. Strolling slowly past his paintings, I became ever more hypnotised as the images took on a pseudo stereogram quality. In seeing what wasn’t there, McDowell emulates invisibility by somehow tricking his viewer into complacence, before revealing his true mien.
Spotted throughout the gallery, Hans Josephsohn’s sculptures have a weird (for want of a better word) presence. Remindful of Easter Island Moai, the veteran sculptor’s cast brass creations have a transcendent quality. Although clearly based upon the human form, they seem to capture their own timeless space with an omnipresent earthliness.
Cecily Brown andMaaike Schoorel probably make for the biggest contrast within the exhibition. Feasibly the crux of the collective display, Brown’s paintings are entirely mesmerising. Sensual and figurative, each image draws the viewer in. A lieu of strokes, the paintings seem to shift with every glance, yielding an ever more desire to look. Saturated with existentialist sensibilities, her works exude human instinct. Counter to this, Maaike Schoorel seems to take a much more apathetic stance. Her bleached canvases denote a controlled and methodical temperament. Her works certainly evoke the invisible, and after forcefully adjusting to her palate, figures and landscapes subtlety emerge.
Salters Ridge by Katy Moran
Visible Invisible invites the viewer into an uncomfortable world where a desired truth is obsolete. Each artist takes their own stance on how to barrage their audience with a distinctive underlay. Irritating the senses, the exhibition leaves you wanting for something that evades, and, insofar, wanting more.
Visible Invisible: Against the Security of the Real is at the Parasol unit, Foundation for Contemporary Art, 14 Wharf Road, London, N1 7RW from 25.11.09 – 07.02.10. Gallery opens Tuesday to Saturday 10 am to 6 pm. Sunday is 12 to 5 pm. First Thursday of every month, open until 9 pm. Admission if free. Please note that from 6pm on Friday 18 December 2009 until Tuesday 5 January 2010 Parasol unit will be closed for the holidays.
Written by Hannah Osborne on Thursday December 3rd, 2009 3:33 pm
Off the wall is a simple story about happiness, ordermedicine freedom, check rebellion and its consequences, told across three pictures. Like a kind of triptych or a very simple comic. It forms the centrepiece of this show, Richards first since leaving Airside in 2007.
Until 24th August
Tuesday & Wednesday : 10am to 6pm
Thursday : 11am to 8pm
Friday: 10am to 7pm
Saturday: 11am to 7pm
CANDY COATED CANVAS is a themed group exhibition showcasing unique artworks by various established and emerging international talent. All artists have been asked to take inspiration from the title “Candy Coated Canvas” and create a unique art piece which is visually extremely colourful and playful, whilst sparking up memories of childhood, sweets, fantasy lands and those naughty but nice pleasures in life. Scrumptious Delight (Canada)
Scrumptious Delight creates handmade plush dolls and sweets. All the toys are made to her original designs with much care and attention at her home in Canada. This is the first exhibition of Scrumptious Delights’ work in an art gallery setting and fits the Candy Coated theme perfectly.
For In a New Place, the exhibition presents Anthony’s exploration of industrial processes and materials with large scale laser–cut perspex pieces as well as digital prints. The subject of the exhibition focusses upon archetypal forms of nature, from rainbows to thunderstorms, all within Burrill’s uncomplicated and distinctive geometric style..
The Serpentine Gallery presents an exhibition of the work of the celebrated American artist Jeff Koons, his first major exhibition in a public gallery in England.
Tuesday-Sunday 10am-6pm ?
Wednesday 10am-9pm ?
Closed Mondays & Bank Holidays
Until 13th September
Free
Camden Arts Centre is proud to present an exhibition of newly commissioned work by London-based Brazilian artist Alexandre da Cunha. His dynamic, large-scale sculptures improvise on the concept of the readymade by reusing everyday objects: job lots from pound shops, surplus fabrics and recycled goods, reflecting on their specific histories and aesthetics.
Written by Sarah Narraway on Monday August 17th, 2009 1:29 pm
Having spearheaded the new London folk scene with their debut album, theremedicalNoah and the Whale are back with their hands full up, releasing a new single, album and film out this summer. We talk school plays, Daisy Lowe, weddings, gardening, Werner Herzog in the studio with the effortlessly charming frontman, Charlie Fink.
Photos by Katie Weatherall
Amelia’s Mag: You’ve got a whole host of new releases coming up – single, album, film – how are you feeling about it all, happy/nervous/excited?
Charlie Fink: All of the above… I dunno, we did the album so long ago… From the last album, I realised the only satisfying feeling you’re going to get is the feeling you get when you’ve finished it and you think it’s good, that’s the best it gets. Reading a review of somebody else saying it’s good is good to show off to your mum, but it doesn’t really mean anything. Likewise, if there’s something you believe in and someone says it’s bad, you’re still going to believe in it.
AM: And the live shows must add another dimension to that?
CF: Yeah. What I’m excited about really is that this record realises us as a band more than the previous one. So that’s going to be really exciting to go out and play that live to people.
AM: And is there anything in particular that has done this or has it been the natural progression of the band?
CF: It’s a million small things, from us playing together more, us growing up, learning our trade a bit better, from what happens in lives and the records you listen to. I very much try to rely as much as I can on instinct and satisfying myself. And this is not a selfish thing because the only way you can supply something worthwhile to somebody else, is if you’re totally satisfied with it yourself. Doing the right things for us and hoping that’ll transfer to the audience.
AM: Was there anything in particular you were listening to whilst making the record?
CF: The things I’m listening to now are different from the things I was listening to when I wrote the record. When I first started the record, I was listening to ‘Spirit of Eden’ by Talk Talk, which is a different sounding record to what we did. Nick Cave, lots by Wilco…
AM: So tell me about the film, ‘The First Days Of Spring’, that accompanies the album (of the same name)… which came first?
CF: The first thing was the idea of a film where the background and the pace was defined by an album. But it totally overtook my whole life. It’s one of those things you start for a certain reason and then you keep going for different reasons. The inspiration was sort of how people don’t really listen to albums anymore, they listen to songs. We wanted to try making an all emersive record where the film puts people into it. We’re not dictating that this should be the only way people listen to music, we just wanted to offer something alternative. On a lot of records these days, you don’t feel like the unity of the album gives it more strength than each individual song. Whereas with this record, the whole thing is worth more than the individual parts. That’s how I see it anyway.
There’s this quote from I think W. G. Collingwood that says, ‘art is dead, amusement is all that’s left.’ I like the idea that this project, in the best possible way, is commercially and in lots of other ways pointless. It’s a length that doesn’t exist. It’s not a short film or a feature, it’s 15 minutes and the nature of it is that it’s entirely led by its soundtrack. It’s created for the sake of becoming something that I thought was beautiful.
AM: And Daisy Lowe stars in it, how was that?
CF: She’s an incredibly nice and intelligent person. I met with her in New York when we were mixing the album and I told her I was doing this film… She was immediately interested. And her gave her the record as one whole track which is how I originally wanted it to be released. Just one track on iTunes that had to be listened to as a whole and not just dipped into. She sent me an email two weeks later, because she’s obviously a very busy person. With her listening to the album, a kind of live feed of what she thought of it. Making a film and having her was really good because she kept me motivated and passionate. She genuinely really took to this project. The whole cast as well, everyone really supported it and it was a pleasure to make. I had to fight to get it made and understood. It’s one of those things that people either passionately disagree with or agree with. From thinking it’s absurdly pretentious or beautiful. Fortunately all the people working on the film were passionate people.
AM: So is film making something you want to continue with?
CF: Yeah, definitely! At some point I’d like to make a more conventional film. The thing that really stuck with me about making a film was surround sound. When you’re mixing a film, you’re mixing the sound in surround because you’re mixing for cinemas. You realise the potential of having five speakers around you as opposed to just two in front of you. The complexity of what you can do is vast. So I’d love to something with that. If you record in surround sound you need to hear it in surround sound, so maybe some kind of installation… Then another film after that…
AM: You’ve been put into a folk bracket with your first album, is that something you’re ok with?
CF: I like folk music, I listen to folk music but then every folk artist I like denies they’re folk. It’s one of those things, it doesn’t really matter. We played last year at the Cambridge Folk Festival and I felt really proud to be a part of that. It’s a real music lovers festival. That was a really proud moment so I can’t be that bothered.
AM: I recently sang your first single, ‘5 Years Time’, at a wedding, do you ever imagine the direction your songs may go after you write them?
CF: Wow. That’s really funny. I’ve had a few stories like that actually. It’s touching but it’s not what I’d imagine.
AM: Do you write songs in that way? Some bands set out to write a love song, dance song etc…
CF: I can’t really remember how I write… I was writing last night but… do you drive?
AM: I just recently failed my test.
CF: Perfect! Well, you know when you start driving you have to think through everything – put my foot on the clutch, take it off the clutch etc. Then when you’ve been doing it a while, you just do all those things without even knowing you’ve done them. That’s how it feels with songwriting, I can’t really remember doing it. It just happens how it happens. Or like gardening… you’ve just gotta chop through and it’ll come.
AM: Is being in a band everything you imagined it to be?
CF: For me it’s more about being creative. I do some production for people, the band, the writing and now the film. I just love what I do and just keep doing it. I follow it wherever it goes. The capacity I have for doing what I do is enough to make it feel precious.
AM: So are there any untapped creative pursuits left for you?
CF: At the moment what I’m doing feels right. I never had any ambitions to paint. I don’t have that skill. I think film and music have always been the two things that have touched me the most.
AM: So how about acting?
CF: I did once at school when I was 13. I played the chancellor in a play the teacher wrote called ‘Suspense and a Dragon Called Norris.’ Which had rapturous reactions from my mum. I don’t think I could do that either. When you direct though you need to understand how acting works. It’s a really fascinating thing but I don’t I’d be any good at it.
AM: Do you prefer the full creative potential a director has?
CF: The best directors are the ones that build a character. Building a character is as important as understanding it. It needs major input from both the director and the actor. You can’t just give an actor the script and expect it to be exactly right. You need to be there to create the little details. The way they eat, the way they smoke… That’s an important skill.
At this point, Charlie asks me about a note I’d made on my reporter’s pad, which was actually a reminder about a friend’s birthday present. Which draws the conservation to a close as we recite our favourite Werner Herzog films. Turns out, he shares the same taste in film directors as my friend.
If Charlie from Noah and the Whale tells us he likes Wilco, then we like Wilco. It’s as simple as that. It’s time to get educated.
Wednesday 26th August
The Hot Rats
The Old Blue Last, London
Otherwise known as half of Supergrass plus hot shot Radiohead producer, The Hot Rats get their kicks taking pop classics by, amongst others, The Beatles and The Kinks and infusing their own alt-rock psychedelica – worth a gander.
Thursday 27th August
KILL IT KID Madam Jo Jos, London
Their blend of durge blues, barndance and freestyle frenzy jazz blues make KILL IT KID a gem to behold in a live setting.
Friday 28th August
Swanton Bombs Old Blue Last, London
If you like your indie adorned in Mod and brimming with angularity, then Swanton Bombs will be pushing the trigger on your buttons.
Saturday 29th August
South East in East Festival – Teenagers In Tokyo, Tronik Youth, Ali Love, Publicist Vibe Bar, London
It’s all about South East London – full stop. In this cunning event, it up sticks to East London, where synth-pop Gossip descendents, Teenagers In Tokyo headline a night of New X Rave.
Sunday 30th August
The Gladstone Open Mic Night The Gladstone, London
As it’s Bank Holiday Weekend and all the bands are at Reading/Leeds Festival, London is starved of big gigs. No fear, The Glad is here – A little known drinking hole in Borough that continually serves up a plethora of folkey talent… and pies!
Sunderland born designer Rosie Upright is truly passionate about design. Aren’t we all I hear you say? Well, health she’s up, recipe all hours, medical day or night… cutting away with her trusty stanley knife… stopping only when her numb fingertips plead for rest. Do your fingertips bleed? I thought not! Rosie developed her unique hand-crafted techniques whilst at university in Epsom, where she learnt all the usual computer design programs… and then decided to steer clear of them. She’s fled the suburbs of Epsom now, to live in London town with all the other hopeful new freelancers. She spends her days photographing, drawing, organising balls of string… and deciding what hat to wear.
We caught up with Rosie for a little chat…
Hi, how are you today?
I’ve got a bit of a sore throat coming on, the irritating children over the road are noisily playing some kind of shooting game, a car is beeping its horn continuously just below my window, itunes is refusing to play anything other than Billy Idol (which I’m not in the mood for), my coloured ink cartridge has just ran out, I’ve got a blister from my favourite pink shoes, an uninvited wasp is stuck in my blinds, my ginger hair has faded to a weird brown, I forgot to buy milk and Ronnie Mitchell is still crying on Eastenders – but apart from that I’m topper thanks.
What have you been up to lately?
Fingers in pies, fingers in pies!
Including…cross-stitch and a week in a cottage in Norfolk (no telephone signal or internet connection, bloody lovely!)
Which artists or illustrators do you most admire?
I don’t think I would have done a degree in graphic design if my ever-encouraging parents hadn’t taken me to a Peter Saville exhibition at the Urbis in Manchester many moons ago. Made me see the ideas process at its very best and the crucial-ness (that’s not even a word!) of initial doodles and sketchbooks.
“Be who you are and say what you feel because those who mind don’t matter and those who matter don’t mind.” Where would any of us be if it weren’t for Dr Seuss?
I really love a bit of Russian Constructivism, in particular Alexander Rodchenko and Varvara Stepanova, bloody genius. Mr Vaughan Oliver, for making us all think differently about where to crop the image, for being an ongoing influence and for that opportunity. Harry Beck, Robert Doisneau and most recently Philippe Petit.
If we visited you in your hometown, where would you take us?
Stroll down to Seaburn beach because when you don’t live next to the sea anymore you really miss it, and it has really nice sand. Then to my very best friend Sarah Bowman’s house, to play with Peggy Sue the kitten, have mental vegetarian sandwiches off a cake stand, and a glass of red wine, ice cubes and coke. We should pop to an art shop in Darlington and then to The Borough, the best pub for tunes, a pint of cider and a Jaeger bomb.
Who would most love to collaborate with creatively?
Mike Perry and YES art studio please. Thank you.
When did you realise you had creative talent?
When some hippy artist came into my junior school to create banners for some event at the local library with us. I was told after five minutes of colouring it in that I had to go away and read because I couldn’t keep within the lines.
If you weren’t an artist, what would you be doing?
A teenage Mam or an actress, haven’t decided which yet.
Where would you like to be in 10 years time?
I’d like to be the designer than graphic design students hate because their tutors always tell them to get their book out of the Uni library. And I’d quite like to have my own shop in London, Brighton or maybe Newcastle (or all three, and maybe Paris then if we’re going crazy) selling things made by me!
What advice would you give up and coming artists such as yourself?
Take other peoples advice but make your own mistakes, don’t be a dick and always colour outside of the lines.
How would you describe your art in five words?
Hand made/ typography/ narrative/ personal/ I’d like to say idiosyncratic too but don’t want to sound like a twat.
What is your guilty pleasure?
Seeing people fall over.
(and cake)
If you could time travel back or forward to any era, where would you go?
It was horrific enough moving away to University and into London and trying to find a job and start my life up. I think if I had to go backward or forward to another era I would probably just straight up die. Having said that though I would like to be a highwayman’s assistant.
Tell us something about Rosie Upright that we didn’t know already.
I can’t wait till I’m an old lady so I can wear those lacy nighties from Marks & Sparks and I love animals in clothes.
What are you up to next?
Going to make a cuppa tea, kill this wasp and then take over the world.
While most of us at the tender age of 19 rooted our existence in smacking down vodka jelly shots at the bar with kebabs at four in the morning and the Hollyoaks omnibus on a Sunday, pilule some people, of course, are born to shine in different ways. Take, for instance, London College of Fashion student Millie Cockton, somebody who has already had their work featured in a shoot for Dazed and Confused, styled by Robbie Spencer.
As a lover of clean lines and beautiful silhouettes, Millie looks for the wearer to bring their own identity to her gender non-specific pieces. At the moment under new label Euphemia, with her AW09/10 about to be stocked in London boutique and gallery space Digitaria, after being chosen to be the first guest designer at the Soho store. Check out the Dazed piece to see some brilliant Shakespearian-style ruffs that Millie has also created working with paper (a material proving popular as with Petra Storrs, who I featured last week).
Each to their own, mind you. I could totally do all that, if I wanted to.
At the age of 19 you’ve already received quite a lot of attention – how has that been?
It’s been great so far! It’s very flattering but its also very daunting! I am on a constant learning curve and my work is developing all the time so although the attention is great it creates a lot of pressure!
Describe your design aesthetic in three words.
Clean, sculptural, understated.
Who do you see wearing your designs? Are they reflective of your own personality?
I like to think of a real mixture of people wearing my designs. I love the way that the same garment can look completely different on different people- for me its all about the individual and how they carry themselves, bringing their own identity to the piece.
I don’t think that my designs are necessarily a true representation of my personality and personal style. I feel that my designs are more of a reflection of the aesthetic that i find desirable and aspirational.
Thinking about the ruffs featured in Dazed, people have touched on the theatrical nature of your designs – is the idea of performance important to you in fashion?
The idea of performance within fashion is something that interests me but I wouldn’t say that it’s a key element within my own designs. I like the notion of a performative element within a piece or a collection as i think that it helps gain a further understanding and insight of the designers thought process and inspiration.
What else do you respond to?
I am constantly discovering new sources of inspiration, being so young I know that I still have so much to learn!
I like to use elements of craft within my designs, such as origami style folding. Craft elements can add interesting details to simple pieces.
What are your plans for the future? Who would you like to work for?
I am about to launch my new collection which will be stocked in Digitaria, recently opened on Berwick St, Soho. I have just started to work with Digitaria’s creative director , Stavros Karelis and stylist Paul Joyce on some future projects which are really exciting and I am thoroughly enjoying. I want to continue learning and developing my ideas, challenging myself and most importantly keep having fun!
‘Having fun’ of course might well translate to ‘becoming future fashion empress of the galaxy’. This is a talent to watch out for.
The Camp for Climate Action 2009 is almost upon us – now’s the time to gather ourselves and prepare to swoop. Convinced that the response to climate change needs more? Ready to share skills, stomach knowledge and experiences? To be part of the grassroots swell of people demanding a difference? To get out there and do something?
Be ready next Wednesday, 12th August, from noon, in London. We’re going to swoop on the camp location together. The more people the better. Secret until the last moment, you can sign up for text alerts and join one of the groups meeting scattered about central London before moving together to the camp.
Why Camp? We can all meet each other and learn stuff – reason enough? – I mean, an enormous, public, activist-friendly child-friendly student-friendly climate-friendly gathering with an ambitious and well-prepared programme of workshops covering all things from Tai Chi for those of us up early enough, through histories student activism, DIY radio, pedal-powered sound systems, legal briefings, stepping into direct action, singing, dancing, jumping and waving.
Why London? Climate Campers have listed ten reasons to focus on London – right up the top of that list is : tall buildings and low flood plains. London is big corporate central, the City square mile itself accounting for a huge proportion of the UK economy, that FTSE100-flavoured slice of barely accountable, shareholder driven pie. And yet, as the Thames Barrier should always remind us, the whole city sits low on the ground. Just check out what the centre looks like with a few metres rise in sea level.
So what’s first? The Climate Camp Benefit party/shindig/jamboree/palooza/knee’s-up/gala ball/discotheque/rave/soiree at RampART, 9pm-3am this Friday 21st August. Consisting of fun/revelry/ribaldry/tomfoolery/jocularity/jive/merriment/high kinks, low jinks, jinks of all stature/cheer/gambol/horseplay & frolic. With bands & DJ’s including Rob the Rub & Sarah Bear & those amazing skiffle kids ‘The Severed Limb’. That’s at:
9pm-3am
rampART, 15 -17 Rampart Street,
London E1 2LA (near Whitechapel, off Commercial Rd)
Donations on the door much appreciated (and needed!) – all going straight to Climate Camp
And then? The Swoop – Night Before – Londoners and out-of-town visitors are welcome to ‘the night before the swoop’ – near the bandstand in Lincoln’s Inn Fields, 7-8.30pm, Tuesday 25th August – for any last minute info, a legal briefing and an opportunity to join an affinity group and get excited. Lincoln’s Inn Fields is just behind Holborn tube station – this map here might help.
Awesome. See you soon.
Ctrl.Alt.Shift dropped us a line to let us know about a comics-making competition so get your promarkers and layout pads at the ready. Ctrl.Alt.Shift Unmarks Corruption is giving you the opportunity to design a unique comic style story. Ctrl.Alt.Shift is the experimental youth initiative politicising a new generation of activists for social justice and global change. The competition hopes to raise awareness of the Ctrl.Alt.Shift and Lightspeed Champion goals and views by inspiring this generation of designers to work together.
Oscar nominated Marjane Satrapi, medical V V Brown and Lightspeed Champion are amongst the judges for the Ctrl.Alt.Shift Unmasks Corruption competition launched today. Corruption is both a cause of poverty, and a barrier to overcoming it. It is one of the most serious obstacles to eradicate.
Entrants to the competition will be in with the chance to create a unique comic style story in collaboration with acclaimed musician and writer Dev Hynes aka Lightspeed Champion. After the first round of judging at the end of September, shortlisted entrants will be given Lightspeed Champion’s comic script as inspiration and asked to create a visual adaptation of the story.
The winning commission will be published in a comic alongside new work exploring the issue of Corruption by some of comic’s greatest talents. The work will also be showcased as part of a new exhibition, Ctrl.Alt.Shift Unmasks Corruption, later this year at Lazarides Gallery, Soho.
To enter the competition please send relevant examples of your visual work along with your contact details to Ctrl.Alt.Shift by Friday 25th September by visiting www.ctrlaltshift.co.uk/unmaskscorruption.
Five short listed artists will then be given a comic brief to respond to and a winner chosen by a panel of judges including: Marjane Satrapi (Writer and Director of Academy Award Nominated Animated Film Persepolis) Paul Gravett (Comica founder), V V Brown and David Allain (Musician and Comic Book Writer/Artist duo), Lightspeed Champion and Ctrl.Alt.Shift.
The competition is restricted to UK Residents only
For further information about the competition please contact John Doe on 020 7749 7530 or Hannah@johndoehub.com / Jo.bartlett@johndoehub.com Brooke Roberts is my favourite new designer. Why? Well, more about after exchanging several emails with her over the last few weeks, for sale for a young designer making such waves in the industry, her witty and playful personality has impressed even via my inbox! Having worked with such characters such as Louise Goldin and Giles, her avant- garde aesthetic really shines through in her highly tailored and retro-feel designs. Miss Roberts is going places, and she’s more than willing to take us along with her!
What made you want to be a designer? What’s your design background?
I’m definitely not one of those designers who always knew that’s what they wanted to do. I did a degree in Applied Science at Sydney University (I’m from Australia) and worked as a radiographer for a year before moving to London to find out what I wanted to do. I did some work as a stylist with a fashion photographer (random hook-up). I knew his girlfriend and she knew my massive extensive collection of vintage clothes and shoes. My mum had a boutique when I was growing up and I loved clothes – I just never knew it was going to be my career.
I did a few jobs in London (pub, bank – more randomness) before realising I wanted to study fashion. I went to London College of Fashion and Central St.Martins (graduated 2005) wanting to be a pattern-cutter or tailor. I really wanted to create, rather than design. I get most satisfaction from making beautiful things and being involved in the whole process. I have a close working relationship with my suppliers, and go to the factories to develop my garments. I cut them all myself, which is probably bordering on control freakery, but I feel it shows in the final product and I can realise my designs exactly as I imagine them.
I’m waffling. I worked for Giles for two seasons after I left Uni, and started with Louise Goldin when she launched her label. We worked together for three years (until last October when I launched my label).
What are your inspirations for your collections?
I get lots of inspiration from my radiography job (I do that part-time to fund my label). So I’m running between the hospital and my studio all the time. I have used CT (cat) brain scans this season to create knit fabrics and digital prints. My obsession with reptile skins never seems to go away, and I have worked with Anwen Jenkins (awesome print designer) to create skull slice python skin prints. Basically, the python scales are replaced with multi-dimensional skull slices.
Apart from that, I research at museums and LCF Library. This season went to the British Museum and discovered Yoruba sculpture and traditional costumes. I researched these for silhouette and style lines. I also looked at Niger garments. They’re beautifully colourful, vibrant and flamboyant.
What are your favourite pieces from your latest collection?
Umm. I wear the cat suit most. I actually met my boyfriend the first time I wore it. So I’m renaming it Lucky cat suit. I also love the Flex jacket in red snakeskin. The razor sharp points make me feel like I am ready for world domination!
What was it like working with Giles Deacon and Louise Goldin? What did you learn from them?
I learnt that I hate taking orders from others! I’m really not one to toe-the-line. I am a perfectionist and this drives other people mad sometimes. I was a pattern-cutter at Giles, doing mostly tailoring, which suited me fine. Most people wanted to do the showpieces, but I was most happy cutting jackets. Giles is a really lovely bloke. Working with him was really my first experience of doing shows and the pressure and stress of getting everything done.
With Louise, my job was broader because in the beginning it was just the two of us. I learnt so much, I can’t even write it down. I worked in the London studio and the knitwear factory in Italy. I had the opportunity to learn knitwear programming, selecting yarns and cutting and constructing knit. I still work in the factory for my own label and really love it. The other big thing was learning about running a business and starting from scratch. The hoops you have to jump through, the process of getting sponsorship, doing shows, sales and production… It’s a massive undertaking starting your own label. And I still chose to do it! Bonkers.
Who do you think are the most important designers of your generation?
Hmm. Well, I like the work of Tina Kalivas and Gareth Pugh. If we’re talking most important, it has to be Gareth.
What do you think are the problems facing young designers at the moment?
The biggest problems are funding and dealing with suppliers, particularly for production. Creating a beautiful product that you can reproduce is actually really difficult! You need to understand the technicalities of fabrics and construction (or hire someone who does) otherwise it all goes wrong.
What’s next for Brooke Roberts?
In fantasy land, what’s next for Brooke Roberts is a holiday. In reality, I’m working hard on marketing and sales for London Fashion Week. I’m collaborating with jewellery designer Chris Edwards and shoe and bag designer Laura Villasenin on side projects for the label. Look out for skull slice stacked rings and metal bone-fixation embellished super-soft bags for SS10!!
Not slim tomatoes, viagra dosage narrow cucumbers or squashed, um, squashes – no, we’re talking about digging for victory in our own meagre abodes. With allotment waiting lists stretching beyond a century in Hackney and not many of us owning the half-county some how-to books seem to assume, options on grow-your-own approaches might look limited. But before you get the howling fantods at the piling impossibilities. As those of you who read the Amelia’s Magazine review of Growing Stuff (an Alternative Guide to Gardening) will know well, even the meagrest city apartment can burst forth in cornucopic life.
And but so then it seems the thing to do is simply to get a pack of seeds and a container and get growing, no hesitation about it. If a brief pause in favour of screenreading sounds like it could lead to better inspiration, I entreat you, read on. There’s a glut of blogs and enthusiasts all over the place to speak to or read up upon. Here are just a few of our favourites.
Life on the Balcony tells Fern Richardson’s encounters with gardens small and smaller, great for fresh faces and old hands alike, with an awesome friendly dirt cheap ways to garden.
Carrie, of Concrete Gardening blogging fame (true in a juster world), digs organic urban gardening, and has gotten into gardening without the erm, garden, since buying a house in the city (Philadelphia) and sees all the possibilities of planting up, sideways and over – just recently blogging about taking things to the next level and climbing up on her roof to plant out veggies, seedlings to sit and soak up sun.
Herbs and Dragonflies is written by a group set up by Kathy Marshall back in 2008 for the Pudsey Carnival and have been creatively, craftily planting since, encouraging others to get their green fingers dirty – doing activities with children and volunteering about the place. Most recently, they encouraged us blog-readers to leave the comfort of plastic planters and terracotta pots – most anything can sit with some soil in it. They suggest novelty Cadbury’s Fingers tins, I’ve used fancy jamjars, and seen anything from skips to wellington boots enlisted in the service of greenery.
Emma Cooper (I’m cribbing now from the ‘Growing Stuff’ contributor biogs page) lives in Oxfordshire with two pet chickens – Hen Solo and Princess Layer – and six compost bins. She has written an ‘Alternative A-Z of Kitchen Gardening’, which Karen Cannard The Rubbish Diet reckons is ‘an inspirational tour of an edible garden that can be recreated in the smallest of backyards. An essential guide for a new generation of gardeners who are keen to join the kitchen garden revolution.’And she blogs about anything from compost to pod plants to the future of food…
Madeleine Giddens loves herbs, which I guess you’d guess from the name of her blog – Mad About Herbs. But there’s nothing off the wall about any of it, she’s plunged into an obsession and come out smelling of roses and lavender, buzzing about bees too, recently, and their favourite flowers.
So there you have it, just a few spots and pointers. Good evening, and wishes for a fruitful weekend from Amelia’s Magazine.
The Royal Bank of Scotland. RBS. Formally known with pride as the “oil and gas bank” due to their close alliance with the fossil fuel industries. What on earth would I have to do with them? They may have lost the unfortunate moniker, treat partly due to a hugely successful campaign by People and Planet student activists who launched a spoof ad campaign and website named the Oyal Bank of Scotland before delivering a host of greenwashing awards – but they’re certainly not due for any special ethical mentions yet.
Not yet.
There was of course a massive £33 billion bank bailout from the taxpayer for RBS last year. But RBS didn’t spend the money on anything worthwhile. Oh no, the truth is that RBS still has oily blackened hands. Most people will remember the Fred Goodwin debacle, he who managed to retire at the age of 50 on a £16 million pension funded by taxpayers. But that’s not the whole of it – since the bailout some of our money has been used to arrange loans for the fossil fuel industries worth a staggering £10 billion, including a substantial sum for E.ON, the company that wants to build a new coal fired power station at Kingsnorth. Despite the best efforts of activists – there was an impromptu snowball fight during the winter, Climate Rush held a luncheon dance and Climate Camp set up camp down the road at Bishopsgate – RBS continues to invest in unsustainable resources.
But the good news is there is hope for change!
As I’ve got more and more involved with activism I’ve got to know members of PLATFORM, who together with People and Planet and the World Development Movement have launched a legal challenge against our government to make sure that public money used for bailouts is put towards building sustainability. PLATFORM is an organisation that combines art with activism, research and campaigning, so in many ways we are perfect partners and I was really excited when they recently approached me to collaborate on an exciting new project at the Arnolfini gallery in Bristol.
As part of a wider festival named 100 Days, PLATFORM will be co-producing over 50 events, installations, performances, actions, walks, discussions and skill shares over a period of two months. This season is called “C words: Carbon, Climate, Capital, Culture” and is intended to highlight what needs to be done to change the world in the run-up to the incredibly important (but unlikely to solve anything) COP 15 conference (think Kyoto 2 – it failed first time around so why would it succeed now?) in Copenhagen in December.
Your part in this audacious experiment?
We’re going to re-envision RBS as a bastion of sustainability – the Royal Bank of Sustainability in fact. And it will be down to you to create the artwork… once more I will be running one of my becoming-somewhat-regular open briefs. We would like you to submit either a logo or a poster (or both) that will suggest a swing in the direction of all things sustainable in the most imaginative way possible. Around ten of the best artworks will be shown for a week at the prestigious Arnolfini gallery in Bristol as part of the whole shebang, culminating with a public judging and prize-giving overseen by yours truly and helped out by the folk at PLATFORM and no less than the Marketing Manager of the Arnolfini, Rob Webster, and Fiona Hamilton of Soma Gallery (Bristol), a woman with great taste in the arts who runs a cult art shop that has been a long standing supplier of my print magazine. We might even invite someone powerful from RBS! (invite being the operative word) After the event PLATFORM will profile you on their website with links to yours, and prior to the actual event I’ll be posting the best entries onto my website – one good reason to get your artwork in as quickly as possible.
If you are interested read on:
What you need to know:
Ideas:
Yeah yeah – we all know wind turbines are great news and polar bears are having a terrible time, but for this brief we’d like you to think a bit outside the box. We’ll be looking for the most refreshing ways of thinking about how we can live in the most sustainable way possible, and most importantly how RBS could play a possible role in aiding this transition to a low carbon world. Don’t forget that we, the taxpayers, own 70% of RBS – why not make it into the people’s bank? You should make clear in your chosen design the re-imagining of the old RBS into the new. Instead of investing in carbon-intensive industries the new RBS will serve the public interest by investing only in socially conscious, ethically driven, and environmentally sound projects.
Style:
Think serious or earnest, kitsch or ironic, warm and fluffy, abstract or illustrative; whatever best communicates the concept and appeals to the broader public, the press and perhaps even people in government. It should engage and inspire. You can collage photography on your computer or paint with your fingers and toes – what matters is the outcome. We want to see imagery that speaks of something new, radical and POSSIBLE. Think positive social force. We love the Obama image that was used in the run up to his election – the reworking of his image in a simple pop art style somehow speaks volumes about new, positive change – and has fast become an iconic piece of graphic design, so we thought we’d use it here to demonstrate that you don’t have to be too literal in your interpretation of the brief to create a successful image. If you choose to create a poster remember that it could be made as an advert.
Technical specifications:
your image should be created to these sizes and scannable or put together on a computer:
A1 for the poster.
A2 or squared off A2 for the logo.
Please send me a lo resolution version but make sure you work to these sizes. We will arrange for the printing of your image should it be chosen.
Deadline:
We need your submissions to reach me by Monday 2nd November. Please send lo res versions of your design to info@ameliasmagazine.com
Future projects:
Please bear in mind that if we really love your work we might want to use it in further literature and exhibitions. Just think, your work really could persuade RBS to change course at a pivotal point in our history. What a fabulous idea!
Join the facebook event here to stay in touch with updates
And join the “Stop RBS using public money to finance climate change” facebook group here
Below is a list of links you might want to peruse for inspiration:
Get scribbling folks! Any queries please contact me directly via email rather than on the comments below.
If you have been to a UK festival in the last few years, pharm chances are that at some point you found yourself dancing in the OneTaste tent. Having residency at Glastonbury, sicknessBig Chill and Secret Garden Party to name but a mere few, OneTaste have acquired a devoted fan base of festival goers who want a guarantee that when they walk into a tent they will get the following components; top quality live music, an high-spirited and friendly crowd, and twenty four hour revelry.
OneTaste in Hyde Park, London
Yet their festival appearances are just one aspect of the multifaceted music troupe. When they are appearing at say, SGP or Glasto, they perform as a collective of musicians, poets and artists who, for many of the festivals, break bread and share space with Chai Wallahs. When they put on events in Greater London and Brighton, (where every night is different from the last), their roots run deep, towards diverse and innovative singers, performers and spoken word artists. They are fiercely proud of their reputation of facilitating and nurturing emerging talent; promoting, not exploiting it, connecting with the audience and creating a true OneTaste family, both onstage and off.
I have known of OneTaste for years, being friends with some of the artists who have performed with them. Having shamelessly utalised their tent at this years Secret Garden Party to dance, drink, chill, detox and then re-tox, I felt it was time to get to know them a little better. The perfect opportunity came at the recent OneTaste night at the Bedford in Balham which I attended recently on a balmy Thursday night. The vaudeville past of the Globe Theatre within the Bedford was an apposite setting for the style of event that OneTaste puts on. As the preparation for the evenings entertainment began in this deeply historical building, I managed to catch a quick chat with the creator of OneTaste, Dannii Evans, where we talked about the rhymes, reasons and the meaning behind this unique and innovative event.
photograph by Kim Leng Hills
When I saw OneTaste’s excellent night in the Jazz Cafe a while back, I saw a lot of different styles of music and spoken word. What would you say is the one common thread that unites everyone?
We’ve always been trying to find out what the thread is! It is definitely not genre, we do every single style and welcome every style, probably the only genre we haven’t booked yet is heavy metal! The thing that links us all together .. (pauses)… is that everyone has got a massive social conscience; it is not always explicit, but it is implicit within a person, it’s in their art. It’s something that holds us all together, everyone at OneTaste has that in mind – that there is a bigger picture and that we need to better ourselves in everything that we do.
The OneTaste music and spoken word night, started four and a half years ago by myself, and Jamie Woon. We basically started it in order that these musicians can do something where they could get paid.
You pay the performers? That’s so rare!
Definitely. We wanted to put on a night where the quality of every single act was really high and it could be where musicians could start their career, so that was the premise. Also the concept is that the event is always half music, half spoken word.
So is it a collective, a record label, an event? I’m kind of confused!
It started off as an event, with us meeting a number of artists and acts that we got on really well and gelled with, who we took on tour around festivals, and then out of spending three months together we formed the OneTaste collective. It started becoming an artist run collective where people would help with the actual event production and then it ended with them all collaborating on material together.
How do artists become part of OneTaste? Is it something that they can dip in and out of?
Absolutely, it’s not exclusive. It grew organically, it’s not an in or out thing – it happens more naturally than that.
Do you have to audition to get in?
To take part in the OneTaste night, either myself or someone running it have to have seen them live. Audience engagement is very important to us, to reach out and to be able to communicate with the audience is really vital. The live aspect and their live dynamic with the crowd is so important, so while they don’t audition, we do need to see how they will perform.
So it seems to have grown hugely in the last four years; Can you give me an idea of the numbers of acts that you have worked with?
In the collective, we have around 30 acts that we are currently championing, but in the last four years we have worked with around 300 artists. The audiences have grown from 40 people to 300 here at the Bedford, 500 at the Jazz Cafe, and 5,000 at the recent gig we did in Hyde Park.
How does OneTaste promote its artists?
It has always been very grass roots, we’ve never done an advert, it’s always just been people coming down and then telling their friends and from that it grew really quickly.
Are there many of the artists signed to labels, and do you help them along their way?
We do, we give them industry advice – we develop their music, or spoken word, we try to help where we can. Some of the artists like Jamie Woon or Portico Quartet have gone on to get more media attention and they kind of carry the OneTaste name with them and still do gigs for us.
What is the direction that OneTaste is heading in?
Potentially, we might have our own venue at festivals next year, which is really exciting. We have a digital compilation coming out, the first one will be coming out in September, and eventually we may form a OneTaste record label.
Gideon Conn performs at OneTaste Bedford.
Dannii and I continue chatting for a short while, and after this she has tasks to do. The audience is filling up, and the night is about to start. Sitting on a bench in the back with a big glass of red wine, I watch the event unfold. The performers are electric, and completely different from one another, yet equally complimentary. Most appear to be old friends, and loudly cheer each others performances. The atmosphere is infectious, I can’t remember the last time I enjoyed myself so much at a gig (and it’s not because of the wine!). I’m quite au fait with the open mic nights and acoustic gigs of London, but I haven’t been to a night which is as cohesive and inclusive as OneTaste. If you want to experience it for yourself, OneTaste are easy to find. Check out their Facebook, MySpace, YouTube and Flickr for images, articles, and dates about upcoming shows, which include a September 8th gig at The Distillers in Hammersmith and 27th September at The Hanbury Club in Brighton.
This week Climate Camp 2009 swoops on London, this site aiming to pressure politicians ahead of the Copenhagen climate change summit in December. Climate Camp will achieve this by encouraging individuals to think about lifestyle changes possible both collectively and personally to prevent climate change.
Sharing these sensibilities, the French Collective Andrea Crews encourage a new life philosophy outside the corporate rat race so often associated with London and other major cities. Being introduced to the fashion/art/activist collective Andrea Crews felt like a breath of fresh air often associated with Amelia’s magazine, a long time supporter of sustainable fashion, craft, activism and individual design.
Andrea Crews Collective express their desire for economic and social change through “the use and the reinterpretation of the second-hand garment” calling it “a social, economic and ethical choice.” A choice displayed by the sheer volume of abandoned second hand garments used throughout the catwalk shows, art exhibitions and activist events. The group criticise the relentless waste of modern consumption, fast fashion has helped to create, through visualising the stress on land fill sites around the world in their staged events. Subsequently by ignoring market pressures: mass seduction and seasonal calendars, Andrea Crews re-introduces a slower, more individual fashion culture through the processes of sorting and recycling.
The Crews Collective march to the same tune as Climate Camp, not only by caring for the environment but in their dedication towards an alternative developed sustainable economy. Andrea Crews encourages mass involvement stating that the project “answers to a current request for creative energy and social engagement. Recycling, Salvaging, Sorting out, are civic models of behaviour we assert.” Thus the power of low-level activism or grass roots activism becomes apparent, if enough people participated with Climate Camp or The Andrea Crews Collective. The pressure on governments to look for an alternative way of living would be undeniable.
The ever-expanding coverage of ethical, eco fashion on the internet plays testimony to the idea that the individual is changing. The Andreas Collective through their exquisite catwalks –particularly the Marevee show with the appearance of clothes mountains which the models scrambled over to reach the runway- draw attention to the powerful position regarding sustainability, fashion can occupy if it so chooses.
All quotes and images are from the Andrea Crews website. DIY LONDON SEEN The Market Building
Covent Garden, doctor London WC2 8RF
Until 5th September
DIY LONDON SEEN hopes to illustrate the growth of the movement inspired by the ‘Beautiful Losers’, doctor which is now a global phenomenon, generic by showcasing the work of local artists whose work takes the ethos of the Alleged gallery Artists and runs with it.
Show runs from: 28th August- 2nd September ’09,
with a preview on the 27th September from 6.00-9.00pm
Artists: Ellen Burroughs presents intricate technical drawings of a surreal nature, Sophie Axford-Hawkins shows bespoke jewelery that follows an identical theme.
The Jake-OF Debut UK Solo Show
Austin Gallery
119A Bethnal Green Road,
Shoreditch London E2 7DG
Running from the 3rd-16th September.
The opening evening is on the 3rd at 6:30pm.
Featuring a collection of his best print, sculpture and instillation work from the past four years. The show will include prints from the Quink series and the first original Quink painting to be exhibited.
So Long Utopia East Gallery
214 Brick Lane
?London ?E1 6SA
Until 2nd September
EASTGALLERY is proud to present the first solo exhibition of UK artist Sichi. ‘So Long Utopia’ will feature a thematic collection of new paintings and drawings. ??‘So Long Utopia’ is an energetic exhibition focusing on the theme of the lost Utopian dream. The artworks in this collection are of portraits, statements and imagined characters, where any premonition of ‘Utopia’ is quickly dispelled by the creatures inhabiting Sichi’s dystopian world.
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