Minnie Weisz’s studio, online a one-storey alcove of delightfully quirky art concealed underneath Kings Cross’s railway arches, is currently harboring the perfect antidote to the last-minute Christmas shopping overdose. Artist, designer, engineer and inventor Tom Foulsham currently exhibits a series of machines that defy easy categorization since his work is a fine blend of sculpture, architecture and installation art. The perfect interaction between all the different parts constitutes the core of elaborate systems that dazzle by their sheer ingenious flair and complexity.
Ron Arad says of him: “ …Tom can actually solve most mechanical problems and realise them against all odds…all sorts of contraptions like a book page-turning device that is activated by the wasting burning candle, and lots of old leather suitcases stuffed with intricate devices that would make Heath Robinson proud.” The Armchair Balance illustrates this best. Especially commissioned for Minnie Weisz’s space, the seamlessly gravity-defying apparatus at times appears to swivel out of control yet remains astonishingly together. I am told it offered entertaining obstacles for visitors at the show’s opening who were forced to approach the laser lights-like tentacles without touching for fear of total structure collapse! The artist used Minnie Weisz’s books to balance his second-hand chair and the final result beggars belief.
Foulsham could be the poster boy for that old cliché of the visionary eccentric scientist left to his own device in an antiquated shop full of strange and exciting mechanisms and other contraptions. Born in 1981, Tom Foulsham studied Architecture at the Bartlett and was an architectural assistant at Arad Associates. He went on to study Design Products MA at the Royal College of Art, graduating this summer 2009, under the tutorledge of Ron Arad. He exhibited his ‘ Balancing Shelves’ at Pecha Kucha ICA in 2007. He showed his ‘Candle Balance’ as part of the V&A group exhibition ‘In Praise of Shadows’ in September 2009.
Tom Foulsham’s work is completely capturing the zeitgeist; the art world, like society, is beginning to go full-circle with technology. “ We’re going back to craft,” Minnie Weisz says. “It’s been the digital age where we press a button and we don’t really know how that happens. We’re going back to skill.” Foulsham masterfully manipulates raw, organic and fine materials in a quick and dynamic manner that arch back to older days; built in two weeks for this exhibition, the Man Making machine is reminiscent of the industrial revolution era in its use of soft and fragrant paraffin. The artist enjoys devising spidery contraptions with simple technologies where nothing is hidden. “It’s a fine balancing act,” I am told. “The sculptures are fragile and delicate yet still strong enough for the public to interact with.”
“I was always taking things apart and then putting them back together again, making things”, Tom tells me about his boyhood. It all sounds so much better than today’s chair bound assisted computer fun. He must have had a wonderful childhood. Tom agrees, “I was making my own toys, playing around with cardboard boxes and toying with little models and knots and bolts. Once I had worked out how something worked, I knew I could make it 20 times bigger”.
Foulsham is a man with great ambitions. The machines/sculptures are also conceived as small-scaled versions of what is to later become life-size or even more colossal. Some of it would work well in front of an industrial museum like the Pompidou centre, I tell him like the Breathing House that is not meant to remain miniature for long. Surprisingly, Foulsham claims Quentin Blake and his “scrappy” style as an influence as well as other balancing sculptures. “My references come from all over the place.” What’s more striking is the sense of play in it all; sculpture as toy from the burnt ephemera of the Man Making Machine to the Wiggle Table. “Tom has quite surreal ideas but packages them to create something that is tangible and that people can have different experiences of. It does not dictate one view of looking and understanding. Yes, it’s scientific. We’ve had many children here who think it’s magic!”
The Wiggle Machine is a crowd pleaser and the blockbuster of this exhibition. “Like the Frankenstein of itself”, Foulsham says. He created a new typeface and a new take on the classic machine blue for this multifaceted jiggling box that grabs the current news and blurts out very serious content in a twist. “The Prime Minister says the …” and the vibrations don’t make me take the news seriously at all…The enigma machine, Second World War cockpits and 1960’s computers all spring into mind. “We’ve had séances here” Minnie Weisz says.
This exhibition is worth the visit and it’s not everywhere that the artist himself introduces you to his artwork. That is why it’s by appointment only throughout 2010. It is best to call in advance for January, I am told. The gallery is currently in festive mode and has asked the surface designer Pippa Johnson to wrap the gallery arch with a specially commissioned illustration over the windows throughout the holiday period.
Minnie Weisz Studio, Under the Arches, 123 Pancras Road, London NW1 1UN. Tube: King’s Cross.
All photography by Amelia Gregory unless otherwise stated.
Once upon a time I assisted a well known stylist on a shoot with Ron Arad. We went to his vast warehouse studios in Camden to take the photo for a magazine, more about and my abiding memory is of the courtyard in front, more about which was littered with the carcasses of old chairs.
Ron does chairs. This is a man who seriously, thumb seriously loves something to sit on, so it comes as no surprise to find that the entire upper gallery of this Barbican exhibition is devoted to his many chair designs.
Fun with a rusty old typewriter as seat pad.
The Rover Chair. Image courtesy of the Barbican.
The gleaming metal version in pride of place.
Here we can trace the journey of Ron’s love from the early days – when he casually tossed aside a career in architecture to pursue dreams of product design – up until the present. At first he took a higgeldy piggeldy approach to their construction: the chair that made him famous was one constructed from the leather car seat of a Rover. In one room we discover how he adapted and changed this original concept before culminating in the final denouement: a sleek recliner in gleaming steel proudly showcased in front of a digital LED screen. For why stop at just one product when you’re onto a winner? Herein lies the essence of Ron’s career – straddling the creation of one off works of art and mainstream manufacturing with gleeful abandon.
Image courtesy of the Barbican. This was popular in trendy restaurants.
Image courtesy of the Barbican.
So what defines a Ron Arad work? Aesthetically he has messed around with all sorts of materials, especially in the early years, but if I had to pin it down to a couple of things, I would say he is principally concerned with bulk and sheen. Rotund forms bulge ominously towards the ceilings and floors of the small upper galleries, suggesting the swallowing of any daring seatee. Delicate this ain’t. Comfortable? Maybe, but we aren’t allowed to try. I particularly love a smooth red and white plastic chair, glowing like a giant boiled sweet. But I think I want to lick it rather than sit on it. Is this the reaction one should have to a chair? Semi-phallic pieces appear more sculptural than useful. Shiny metal surfaces reflect the gallery-goers like distorted mirrors, and automated rockers set the chairs in perpetual motion as directional lighting throws dramatic shadows against the encroaching walls.
If we aren’t allowed to sit in the chairs upstairs there is much fun to be had stretching out on the various seating arrangements that populate the large open downstairs gallery. Particularly with my austostitch app in hand. On the walls there are bookshelves – his famous curved Bookworm, an impressive patchwork map of America and a giant bookshelf wheel that maintains an impressively upright angle as it regularly slips down a long slope. Some of the most interesting items are the models that Ron has sent out for mass production, complete with scribbled markings.
In side rooms we discover Ron’s other projects, including some experimental lighting that plays with the direction of beams so that GOD reads WAR, and a giant disco ball. But it is in his recent return to architecture that Ron really goes to town, even if not much seems to have actually been built other than in Israel, country of his birth. The rest represents little more than extreme flights of fancy, huge brutalist monstrosities designed to house his chairs but destined to forever remain toy models.
His architectural models leave me cold. I mean, I love a bit of brutalism, but there’s a time and a place. Architecture now needs to take into account the environment.
The exhibition left me pondering when the time is right to have a retrospective. When is the work of an artist deemed of high enough calibre? Until recently Ron Arad was head of product design at the RCA and he is still very much an active designer today. This in itself makes for an interesting angle, but does he deserve such a major retrospective? I’m not convinced. At times it felt to me very much like this was the work of a one (or two or three) trick pony. Who, despite the title, likes very much to sit down.
Most music lovers have certain labels that they follow, information pillsprice awaiting releases, viagra 100mg excited by the new directions the people behind these labels have chosen to take. Warp and Planet Mu are two such labels for myself. Years of solid, this web progressive releases have meant I trust their taste – and once again, I think they may have succeeded.
Tim Exile‘s new album bends and shifts between tracks, layering genres from trip-hop to jungle with aspects of punishing techno all combined with stiffly melodic vocals hanging over the top of it all. Each track rolls around almost drunkenly, though perpetually rolling forward – something only possible through the albums astounding production.
There is something about the vocals that don’t strike me as truly necessary. They don’t reach out and suck you in enough and at times and you feel like they’re just sort of there, almost unnecessarily. The tracks speak for themselves; they don’t need Tim’s mutterings splashed across them – often just cheapening the melodies created by his impressive range of synth sounds.
What works much better can be seen in a youtube video of Tim Exile remixing Micachu live. Such an obscure combination that you just know that it could work perfectly, and it does. Well, kind of. It’s interesting.
My highpoint of the album surprisingly comes in the form of ‘Family Galaxy’. It springs from Exile’s past as a Drum and Bass producer (albeit a rather experimental one). On mass, I hate drum and bass. It really is quite ridiculous how much guff can be produced week after week, tirelessly, systematically presenting itself as the same thing. This track however just seems to play with your senses, drawing you in. Then you realise you’re listening to drum and bass and you just have to commend the man. ‘Carouselle’ is also well worth a listen. Truly uplifting experimentations with sounds and melodies it has a kind of dramatic theatricality to it.
This is an album fans of the obscure corners of electronica will enjoy, but not hold up as an album everyone should care about. Intelligent Dance Music is a genre I try to distance myself from (a recent evening spent in a room with Aphex Twin actually scared me away from the genre). This album however seems to bring quite a colorful and enjoyable feel to a genre that seems to thrive in the horrific side of music.
It has to be said I am still trying in vain to establish myself as savvy online shopper. A string of failed eBay purchases led me to become rather despondent about the whole word of online retailing. However recently I found a shop that wholeheartedly restored my faith in the otherwise online abyss.
Hip London based retailer Youreyeslie have emerged on the scene with a shed load of innovative new designers to get our online juices flowing. Branding themselves with the comical slogan “bad taste is better then no taste” its clear to see these guys are not ones for conventional clothing. Featuring everything from bake well tart rings to t-shirts brandishing Nuns with red noses. Their kitsch designs for men and women are sure to make you stand out amidst the city crowds.
The t-shirts feature an eclectic range of styles to suit all tastes from the grunge rockers, hospital the whimsical bohemians to the new rave eccentrics. The site are keen on promoting hand illustration so all t-shirts are beautifully intricate. My favourite has to be the delicate printed tiger oversized t-shirt, I think you will agree he is a handsome beast! I definitely want to take him home.
My Achilles’ heel of the entire website has to be the accessories. They got the entire Amelia’s HQ resorting to excited childish giggles. Each of us tried to conjure plausible excuses to buy a whole bundle of their adorable pendants.The whimsical designs are brilliantly kitsch, taking you on an imaginative whirlwind tour through the fairground, with marching band and tambourine pendants. Then it’s on to the tropical jungle with exotic birds and butterflies and if that’s not enough excitement you’re then catapulted into the realms of outer space with a rocket pendant.
My favourite has to be this bird pendant of two Bluetits, (see a pastoral upbringing has its distinct advantages, well for bird classification at least!) Anyway as an avid bird fan myself these beautifully delicate feathered friends get the thumbs up from me, I happen to think they would be very content perched on my neck.
So give your wardrobe that new leash of life it craves, with free delivery over orders above £50 there is no excuse not to go mad, well that’s my reasoning anyway! Send us stuff by the barrel load, here at Amelia’s we are well and truly hooked on YEL!
I’m sure that all our our wonderful Amelia’s Magazine readers have got a viewpoint on animal testing being conducted for cosmetic products. And I would like to think that the viewpoint is that it is JUST PLAIN WRONG! (Seriously, page what other viewpoint is there?!) I don’t know about you, hospital but I have been under the illusion that we were all in agreement about this, and so were the suits behind all legislations that decided upon animal testing. Apparently I was wrong. Because R.E.A.C.H had got there first. Under this law ( also known as Registration, Evaluation, Authorisation and Restriction of Chemicals), many more animal tests are taking place as the scientists try to work out which chemicals can harm us. Alarmingly, these include chemicals found in cosmetics and toiletries.
Having found out that one of my favourite brands, Lush, have been campaigning heavily against this, I spoke with Andrew Butler, Lush’s Campaign Manager at Lush H.Q to find out more about this situation.
Andrew, I can’t get my head around this.
“This whole R.E.A.C.H thing is horribly convoluted situation, and a lot of people don’t know about it. R.E.A.C.H is already a reality, people have been fighting it for years, but it went through, largely because its something that people didn’t fully understand, It has been too complicated for the media to follow. R.E.A.C.H affects all products. It is a piece of legislation that is about 10 years in the making, and here’s the backround: consumer and health organisations were concerned that there were chemicals on the market that were potentially harmful, either through direct contact or consumers, or via the environment, and concerned that things were getting into the soil or the water, and getting into food chain or affecting wildlife. The kind of concerns in question were if the substance was an irritant, or carcinogenic, or a endocrine disruptor, – i.e it upset the hormonal balance. and so R.E.A.C.H was designed to be a catch all, and pull together all the diverse different bodies that dealt with chemicals in Europe into one central body and pull together existing information and fill in any blanks that there may be, and this was why R.E.A.C.H came to pass.”
But it sounds laudable, in theory?
“Absolutely, we should be ensuring that dangerous chemicals are not in the marketplace, and anything that is either cancer causing or disruptive of hormone systems should be heavily restricted or banned. But it is the way that the data is collected, and the sorts of data is used to ascertain whether something is safe or not. . And that was something that was not asked of the people who proposed the legislation. The groups were concerned about the chemicals, but not necessarily how the safety would be assessed. Traditional toxicology and eco toxicology involves animal tests, and that has always been the case. Pretty much everything that you can imagine from the carpet under your feet to the painting on the walls has been tested on animals somewhere by someone. Almost everything has been through a lethal dose 50 test which is where a group of animals is force fed a substance until 50% of them die. Its something that is done for virtually everything.
Companies who are concerned with safety testing but also don’t want to use animals have been concerned with the ingredients so there are various mechanism that companies can put in place so animal testing is not used. They can set a cut off date after which ingredients are not tested on animals, or they won’t do business with companies that are testing on animals. There are grave questions about the validity of animal testing, not just the ethics. The animal testing data is not really applicable to people.
As R.E.A.C.H was being developed there was pressure to not rely on animal test data. We ran a campaign in our stores, we collected postcards to MEPS urging them to not rely on animal tests under R.E.A.C.H, we collected 85,000 of those and sent them to MEPS. Many groups, such as Animal Aid and PETA were also campaigning against R.E.A.C.H. In the six years that the legislation was being passed, there were provisions put in place. For example, if animal test data already existed for a particular ingredient, that should be used in place of any new data. So provisions were put in place to minimise it, but not do away with it entirely. ”
I’m sure we already know it, but what is Lush’s stand on animal testing?
Lush goes into the stocks
“For us as a company, we have an objection to animal testing – both because it isn’t ethical to inflict suffering and kill animals in order to assess safety, and we don’t believe that animal tests will result in accurate info, we feel that the animal test data is inconclusive. Generally speaking, animal tests offer an accuracy rate of 40%, whereas the non animal tests are accurate 70- 80%. We are opposed to animal tests being mandatory in R.E.A.C.H. We need to ensure safety without suffering, with modern, non animal testing methods that will give us much more accurate results. ”
When did R.E.A.C.H come into effect, and what kind of ingredients are being tested?
“The legislation passed in 2007, and it has been implemented over the last couple of years. R.E.A.C.H legislation presides over anything that has undergone a chemical process – so e.g. a lavender flower isn’t included, but lavender essential oil would be considered a chemical, because it has undergone a chemical process. Anyone manufacturing or importanting any material in Europe that is over a tone of materials have to register it to R.E.A.C.H, and collectively, almost everything comes under these guidelines. And the deadline for this was December 2008 and the European Chemicals Agency were meant to have sift through all of these registrations, come up with a final list and set deadlines for the testing to be done. 140,000 materials need to be tested and be given safety information. If the data doesn’t exist, animal testing needs to be done. There is a huge degree of uncertainty – how much of that data already exists? How much animal testing needs to be done? Potentially, millions of animal experiments will need to be done. And it tends to be the more natural substances, like essential oils that don’t have all of the data. They are the ones who are going to end up being having to have their products tested; this will be done against their will.”
This is all so bleak! Is there a possibility of a positive outcome?
“We are struggling at the moment, because of the degree of uncertainty. But there is a silver lining. There is the European Cosmetics Directive, which came into force on March 11th 2009, it is an amendment to the cosmetics directive. It says that you cannot test any ingredients for cosmetics on animals in Europe. You can’t even market a product in Europe containing ingredients that have been tested on animals anywhere in the world. So on the one hand you have this, and on the other, you have R.E.A.C.H. ”
Before the last draft of R.E.A.C.H was passed, Lush paid a visit with a manure truck
So which one gets the say so on testing?
“That is a good question! It’s something that has to be tested in court. The whole cosmetics industry sees that there is clearly a conflict. What we need is for more companies to stand up and start questioning this, and to get the British Government to stand up and say that we are questioning this. So our campaign right now is awareness raising. R.E.A.C.H spells the end to cruelty free cosmetics. So if you care about this, you need to be aware of this, you need to start talking about this, and you need to ask other companies what they are doing about this. What are the British Government doing about this? They stood up in 1998 and said no more animal testing. Well they have signed us up to the biggest animal testing programme in Europe’s history, what’s that all about? Lush can engage corporate disobedience, and refuse to toe the line but thats not enough, if everyone is complying with R.E.A.C.H then animal testing will still go ahead. It needs to be collective. And the British public need to get involved too!”
Is there information readily available in Lush stores about this?
“Until the end of Easter there is information in all the stores, it’s being run as an in store campaign. The aim after Easter is to get a more comprehensive leaflet that will be available if you ask for it. There is also always going to be information on our website (www.lush.co.uk/reachout/ ) We are hoping to produce letters to MP’s and other companies, specifically about this issue.”
How has the feedback been from your Lush customers?
“We have had a really strong response. We have run plenty of campaigns about packaging, shark finning, human rights in Guantanamo, all sorts of things and this is one of the strongest customer responses, people have been shocked – they had no idea that this was happening. A lot of the responses have been that this is contrary to my rights, this should be going through the European Human Rights Courts because it should be my right to say, no I am not going to be alright with animal testing.
Information booth outside Lush
R.E.A.C.H is a law, there is not one particular thing that you can do to stop it, but if we do lots of things; if we at least start talking about this, and get large companies to stand up and say that we are not happy about this situation, then we stand a chance.”
If you haven’t come across Etsy before, treatment a bank holiday weekend is a good time to start exploring, find as you could very easily wake up Tuesday morning and find that’s all you’ve done for the last 4 days. www.Etsy.com is kind of like Ebay, but only for handmade items – from cookies to soap, socks to coffee tables – if it can be made, chances are you’ll find someone on Etsy who’s made it. Painter, carpenter and photographer Rob Kalin created the site after failing to find anywhere he could sell his products online. In 2005,the year the site was launched, $166,000 worth of goods were sold. This year, they had already sold $32 million worth by March. The ethos behind the site is responsible for it being such a massive hit in the States, and its starting to become better known worldwide- everyone is reacting against our culture of mass-production and supporting small, home-run businesses where people make things by hand. The following statement fromt the company explains it all…
With the global economic crisis putting finances in a squeeze, Etsy is a great way to maximize a budget. There is an endless variety of unique, quality handmade gifts at affordable prices. Besides being memorable, these gifts are also valuable. They’re made to last a lifetime, not just until next year’s version comes out. Which means less trash for landfills, and more savings for shoppers. Plus, each purchase on Etsy directly supports independent artists and designers.
To ease you in gently, I have picked out some affordable works of art that would be a wise investment and more importantly, might brighten up your home. If you like a seller’s work, click on their ‘Favourites’ tab on the right hand side of the Etsy web page, which will take you to all the sellers they like..and so on until before you know it your cyber basket is full!
Tea Fairy by Winonacookie
Lots of artists on Etsy use old images from vintage photographs and books to create new collages or ‘altered art’. Winonacookie is my favourite, though she’s obviously gained a fair following and her originals are a tad pricey now. Remember- the prices shown are in dollars though- they change it when you check out.
Their work would look perfectly at home on the pages of Dazed and Confused or Vogue. Nab a print before they make it big.
You can view my favourite spring fashion buys from Etsy by clicking here.
Who would have thought that so close to Oxford Street, information pills headache-inducing caricature of the nation’s identikit high streets that it is, Great Marlborough Street would reside, a civilized and calm conduit of the Capital’s finest culture creators. Culture creators with smart suits and serious rosé habits, who have long since outgrown their boho-clobber. And right between these parallel universes, on the barely-noticeable Ramillies Street, we find the new home of The Photographers Gallery. It is a very efficient three-tier cuboid of display. If Muji did art galleries, they’d be like this.
The prize exhibition began on the 20th of February, and for a few nail-biting weeks of suspense, we wondered where the fickle finger of fate would land, and what arguments we would have to have about it, while the winner went off to Jessop’s to fritter away their £30,000.
The winner, it turns out, is Paul Graham. Graham’s work is pure uninterventionalist America-watching, with a dark profundity to it. A fat man in America pulls on a cigarette like he really needs it outside a drab white building. He’s shuffling about, going nowhere until the end of his fix. And he’s doing the the same again. And again. And again. Some trees in America do nothing. And again. And again. The book that led to his nomination is entitled A Shimmer Of Possibility. It’s all as dry as this, yet strangely moving. A sequence of the book depicts one hard-on-his-luck chap striding across New York tensely, again with a cigarette, yet each shot is followed by a shot of a magnificent, yet naturally composed North Dakota sunset. It’s just the very idea that one man’s drab life and lack of purpose coexists with the world’s beauty. A beauty that cares not at all, but still offers a redemptive temple for prayer. It’s inevitable that this will be compared with Robert Franks’ The Americans. It’s a valid comparison, since critical distance is the backbone of each body of work. But A Shimmer Of Possibility is not an update, but more a change of gear, with all dynamism and gusto drained from The Land Of The Free, the better to imprison them within our gaze. But that’s the book.
The exhibition space doesn’t really have room to display a significant proportion of Graham’s slow narratives. The small selection here should be taken as an existentialist aperitif, and is not necessarily the most potent of his output.
Moving up two floors, you’ll find the three runners-up. Tod Papageorge is responsible for taking pictures of people in Central Park constantly for twenty-two years (1969-1991). These are bizarre little vignettes situated within the expanse of Manhattan’s great lawn. It’s a bit like zooming into a Watteau and finding little scenes depicting the strangeness of twentieth century life. A young couple stretched out on a blanket in the sun. A scruffy man combs his son’s hair in a clearing. In a very compelling shot, a black man lies in repose before a chessboard. The black pieces are his. The white pieces belong to the gallery-going public. Is this a meaningless chance happening, or composed confrontation? It drives right to the core of what apparently out-on-the-prowl photography can be, asking the viewer what they can see, and are they right to see it.
The next encounter is with the work of Taryn Simon. I found her the most fascinating exhibitor here. These photographs constitute a very focused project, to catalogue aspects of America that are normally hidden or unfamiliar. The hydroponic marijuana room at a licensed research lab. A cryopreservation unit that holds the bodies of the wife and mother of cryogenics expert Robert Ettinger. A couple of thousand nuclear waste capsules sitting at the bottom of a watery containment facility in Washington State. A Braille edition of Playboy magazine. Finches in quarantine. The seized contraband room at JFK airport, full of tropical plants, odd food, diseased vegetation, and bushmeat, all awaiting incineration. These glimpses off the radar, though all beautifully captured, lack a consistent visual style. The subject is paramount, to a documentary degree, and each must be captured on its own terms. Simon is really allowing her issues to speak for themselves, be it with humour, disgust, or merely what Stephen fry would call Quite Interesting-ness. It’s a glimpse behind the curtain, bringing your conspiracy theory gland into the real world, for each composition is an altercation between your notions of real and normal, usually wedded, now in uncomfortable stand-off. The most powerful piece is a heart-wrenching portrait of Kenny, a white tiger, residing at an animal refuge, selectively inbred as a status pet by Arkansas half-wits, themselves perhaps inbred. Kenny has breathing difficulties, malformed bones and teeth, and cannot close his jaw. His siblings are even worse off, apparently. Looking into Kenny’s eyes and wondering, identifying, is overwhelming. Elsewhere on the spectrum is an interior of the CIA’s art collection offices. Simple yet sinister, this makes you wonder about all the things you still can’t see, all the dirty interventions by Intelligence Agents in our beloved realm of culture.
Simon’s project is almost journalistic, and the photos need to be accompanied by the little text labels, which explain these otherwise very disparate images. However, if that constitutes a dilution of the definition of a photographer, it’s nothing next to Emily Jacir’s deviation. She presents an archive of the life of Walter Zuaiter, a Palestinian intellectual who was assassinated in Rome by Israel’s Wrath Of God Operation in 1972, after they linked him, perhaps falsely, to the Munich Olympics massacre.
Jacir would have been two years old at the time, and I’m assuming she didn’t take the photos herself. She is an archivist, perhaps a curator, likely an artist, certainly a fangirl, but I can’t see how she could be called a photographer. Photography Prize, remember? It’s easy to redefine art for found objects, but the word photography is a bit more specific than that. I suppose that’s just semantics. It may not be in the right place, but it is worth seeing, and is a tragic memory of this intriguing life. She displays a selection of paperbacks that he had read, along with letters, and old photographs as a way to create some space for the personal amidst the political, the human amongst the historical. And it’s good that not everything here is about America.
The show overall is a pretty still, meditative, even modest affair. Beauty abounds. And thought. The Deutsche Börse Prize turns all of this into a big discussion about art and value. To award one prize is a shame, and probabilistically, only a quarter of people would agree with the choice of Graham, but art, at least, wins on the ground floor, and the second floor. The filling to this Photography sandwich is a shop for photography books and prints and coffee. The hordes of Oxford Street will never know. Don’t be one of them.
The Exhibition runs until April 12. Monday, what is ed 13th
Enough with the chocolate eating! Music can be delicious as well, so go enjoy your last holiday evening with Bombay Bicycle Club (the band, not the restaurant silly!) at KCLSU (King’s College Student Union). They are launching a very yummy single called “Always Like This” which is the leader one from their new album due this summer.
7:30 pm. £8.50.
Bombay Bicycle Club
Some Swedish romanticism can`t hurt, right? Well, Loney Dear is back celebrating the release of their fifth album ‘Dear John’ with a full band show at Scala, fresh from an extensive tour around America.
On support duties, welcome Snowbird, a brand new and rather bewitching collaboration from Stephanie Dosen and Simon Raymonde (Cocteau Twins, Bella Union) playing songs of the old and new variety. As if that’s not enough, there`s also the full lavishly appointed and luxuriously hand-tooled 8 piece version of The Leisure Society, a fast rising orchestral folk-pop band whose tour will culminate at this very show.
7:30 pm. £11.50
Acclaimed indie pop trio The Wave Pictures release their latest album ‘If You Leave It Alone’ on the 4th May. The band is currently on tour in the UK and London fellows can check out the homonym single at ICA this Wednesday.
The Wave Pictures
OK, so far it`s been impossible not to go out every single evening in the week. The musical orgy continues on Thursday with all the Berlin coolness of The Whitest Boy Alive, fronted by Erland Oye, formerly Kings Of Convenience. The will be playing “Rules”, the new album, at Scala.
7:30 pm. £15.
The Whitest Boy Alive
Temper`s Trap new release Science Of Fear is due to 20th April and a preview will be performed this Friday at Koko.
Great music for free? Here we come! To celebrate Record Store Day, Pure Groove will be hosting three gigs where you’ll be able to see Graham Coxon performing live, along with our own Dan Michaelson and Patrick Wolf.
10am to 6pm. Free.
Everybody is all around talking about “Two Suns”, Bat For Lashes new album. Honestly? When we first listened to it at the office here we all flipped out.
They are playing a second night at Sheperd`s Bush Empire so guarantee your Sunday ticket before it sells out.
7:30 pm. £15
Bat For Lashes
How strong are the bricks and mortar that hold your house together? Chances are they are flimsier then you would think. Especially if you have ever fallen behind on a rent check, sick mortgage payment, drug or found that your job no longer exists, pharm or that your employers can’t afford to keep you on. These scenarios are affecting thousands of people every day, in every party of Britain. Millions of people are trapped in a vicious cycle of spiralling costs, a precarious job market and a serious shortage of funds – all which are contributing to a level of uncertainty that has not been experienced in our life time. When this all hits, it hits hard and its impact is usually centered on whatever place that you call home. It’s at this moment that you realise how fragile your home really is. Suddenly, the idea of becoming homeless doesn’t seem so far removed from your reality. Right now, there are 1.9 million households on council housing waiting lists and repossessions are predicted to rise to 75,000 in 2009. And right now, the entire housing market seems as fragile as a house of cards. Which is why Amelia’s Magazine would like to help raise money for Shelter. Read on for the design brief.
Amelia’s Magazine has been asked to produce a piece of artwork for an exhibition that Shelter will be putting on in the summer. Other designers and artists who will be contributing to the exhibition include Stella Vine, Basso and Brooke and Rachel Whiteread. The final artworks will be auctioned to raise money for Shelter, and it’s a great honour to be asked to contribute to this. I’ve been given the TWO OF HEARTS, and the plan is to put together a patchwork quilt of cards in many different styles and designs, all depicting the TWO OF HEARTS. But I am not going to do this alone; in keeping with the way that I have produced the magazine this patchwork will be made up from contributions from illustrators. So I need your submissions! The best playing card designs will be added to the quilt and your name will be credited in the exhibition which you will also be invited to attend.
SIZE: Please design to standard playing card dimensions but larger scale. Your design should therefore be 126mm x 176mm and in jpg, psd or tiff format.
RESOLUTION: 300dpi, as a photoshop file in CYMK mode, using Photoshop print profile: euro standard swap coated 20% (or euroscale V2)
MY STYLE: I am looking for decorative, colourful interesting designs on the theme of TWO OF HEARTS. I’m excited, I can’t wait to see what you come up with!
SENDING IN YOUR DESIGN: Send your design to firstname.lastname@example.org on an email clearly headed SHELTER CARD QUILT any time before this closing date.
CLOSING DATE: Please send your design into me by the end of June. Closing date for entries is Monday 29th June. If your design is picked to be used on the quilt I will be in touch at some point after the closing date to let you know.
UPDATE: WE NOW HAVE A FACEBOOK EVENT FOR THIS: CHECK THIS WEBSITE FOR THE BEST NEW DESIGNS AS THEY ARRIVE IN MY INBOX! Fabstraction
This will be the artist’s second solo show at the Alan Cristea Gallery and will include 30 new works.
Alan Cristea Gallery 34 Cork Street, viagra sale London W1S 3NU
4th Mar 2009 – 17th Apr 2009
Signal Gallery, page 96A Curtain Rd, EC2A 3AA
Open to public: 27th March – 25th April 2009
Tuesday – Saturday 12 – 6pm
The exhibition will include some experimental pieces from the designers newly completed selection.
Timothy Taylor Gallery, 15 Carlos Place, London W1K 2EX
8th April- 9th Maf 2009
Monday to Friday 10am — 6pm
Saturday 10am — 1pm
Prophecies and Deceits
The show tackles concealment, transparency and hidden messages. The artist brings a personal insight into current global issues such as religion, war and politics,
Red Gate Gallery
10th Apr – 16th Apr 09
Opening Hours: Fri, Sat, Sun, Mon – Wed 2.30 pm – 6.30 pm
Last day of exhibition: Thursday 16th of April from 11 am to 5 pm
The lone chimpanzee lost in the urban concrete formed city jungle.
The artist’s sculptures often explores and questions the need to socially and economically race towards a better future. In this case the chimpanzee forces us to face our distant animal past.