Tag Archives: Art

Time Well Spent at Store Street

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Contemporary Printmaking: From Andy Warhol to the Emerging Generation

This exhibition by Orion Contemporary combines household names with Orion’s young, emerging stable of artists to promote printmaking as an art form and celebrate the importance of the medium.  To quote Andrés Olow Clase, director of Orion Contemporary: ‘From Andy Warhol’s exceptional print of 1974 to works made in 2012, the show explores the diverse vivacity and technical skill of printmaking.’  Following the inaugural exhibition in 2011, this year’s offering includes a variety of work by Lisa Denyer, Alexander Gough, Damien Hirst, David Hockney, Max Lowry, Dénes Maróti, Will Martyr, Andy Warhol and Giulia Zaniol.

I am not going to talk about the big names here; nobody needs me to tell them about the likes of Hockney or Hirst.  Instead, I would like to focus on some of the less well-known artists.

Alex Gough’s woodblock prints of Levi Mountain are influenced by his Finnish ancestry and are imbued with strong tonal contrasts, reflecting the twilight dancing on the snow, or the midnight hue as the mid-winter landscape melts into long dark nights.  Lisa Denyer’s ‘Range’ continues the mountain theme and uses a mystical combination of silver and black to engage the eye.  William Martyr’s art deco ‘Sweet Spot’ and ‘’Time Well Spent’ employs bright, vibrant colours to excite the viewer’s imagination.  Dénes Maróti pleasantly surprised me by his range: I was startled to discover that the bold, powerful images of repetitive figures were drawn by the same hand as the delicate flower prints.  Finally, Giulia Zaniol’s ‘Angels of London’ series uses a highly advanced two-plate technique of soft and hard ground, litho colours and spitbite to create images with deep and varied tonal harmony.  The combination of colours and images manages to be both haunting and calming at the same time.  Although chromatically I think the finest of the three pieces is ‘Parliament Angels,’ the image of the solitary seraph stood staring across the Thames at the distant ‘Tower Bridge’ will remain with me for some time.

Comtemporary Printmaking opens today at Store Street Gallery.  On the evening of 14th March, Gabriel Angel Moreno, will be reading a selection of his poetry written in response to the works in the exhibition, and Giulia Zaniol will lead an informal talk on the art of printmaking on Saturday 17th March at 4pm.

Contemporary Printmaking is at Store Street Gallery, 32 Store Street, WC1E 7BS.  Opening Times: 13th March – 17th March, 11am-6pm. 18th March, 11am-4pm.  Admission Free.

That’s Grouse: The British Show

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Australian pop artist Linton Meagher reimagines
shell casings, lipsticks and
scalpels in first UK solo show
That’s Grouse
COMODAA, London
Exhibition Dates: 22nd – 29th May, 2012

Adding an evocative twist to the ‘Pop Art’ Genre, Linton Meagher taps the visual potential of
mass-produced objects in his first UK solo exhibition.

“That’s Grouse”.The British Show surveys the cross-media work of Linton Meagher. Showcasing works with
international appeal, “That’s Grouse” The British Show playfully considers the construction of identity, touching upon
motifs in contemporary pop culture.
“That’s Grouse” is an Australian colloquialism referring to something excellent or fantastic: this tongue-in-cheek
exhibition is a mischievous exploration of cultural iconography that’s equally relevant in both Australia and the UK.
Through a painstakingly repetitive artistic practice, Meagher moves familiar, functional objects into the realm of fine
art, encouraging and challenging viewers to question their meaning for contemporary society.
Constructed from hundreds of shotgun cartridges, bullet casings, imitation lipsticks and surgical scalpels,

The marriage of disparate meanings and objects is a theme throughout Meagher’s work and is particularly evident as
repellent objects such as bullets or surgical scalpels are transformed to portray beauty.
Taking inspiration from Jeff Koons’ and Arman’s irreverent approach to art-making materials, Meagher’s practice
often examines a symbolically loaded object, such as a shotgun cartridge (referencing both gun control issues in
Australia and hunting heritage in the UK), and utilises its aesthetic appeal to encourage the viewer to reflect on the
world around them.
“On the surface, these works are just fun, sensual and instantly engaging: with the shotgun cartridge works,
the viewer is initially seduced by the beauty of the piece.
However, it is hard to look past the death implied by all the empty cartridges. They force the viewer to ponder
the economics of the endless pursuit of thrills and beauty. These works are also an extension of the artistic
tradition of exploring mass consumerism and the use of ready-made objects in art.”
Linton Meagher

Exhibition Details:

Dates: 22nd – 29thth May 2012 Private View 6.30pm Tuesday 22nd May 2012
Address: COMODAA
28 Chepstow Place
Notting Hill
London
W2 4XE
Transport:
Bayswater (Circle Line, District Line)
Queensway (Central Line)
Free
Opening Hours:
Mon – Sat, 12noon – 9pm
Closed Sun
http://www.comodaa.com

+44 7900 616303
info@comodaa.com Continue reading →

Louis Vuitton Marc Jacobs Exhibition at the Arts Decoratifs in Paris

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Louis Vuitton Marc Jacobs Exhibition at the Arts Decoratifs in Paris, This exhibition shows how, with over a century between them, both Louis Vuitton, founder of the house of Louis Vuitton in 1854, and Marc Jacobs, its artistic director since 1997 were able to fully discern their specific era and take advantage of all the possibilities offered.

The exhibition space, curated by Pamela Golbin and designed by Gainsbury and Bennett, is spread over two floors, each dedicated to the creators.

The first floor, devoted to Louis Vuitton, explains how, under the Second Empire, he was able to develop his packing company in a rapidly growing district. The industrial revolution brought about new technical possibilities, while giving rise to affluent customers: an increasingly high number of aristocrats, bourgeois and rich tourists were beginning to travel more frequently, yet the expanding number of garments required made transportation more difficult.

The second floor explains how, since 1997, in a world of fashion that has expanded on an international level, Marc Jacobs has adopted the Louis Vuitton cultural codes and added his own personal touch. And so, quite naturally Marc Jacobs, who perfectly embodies today’s contemporary creator, called upon artists like Stephen Sprouse, Takashi Murakami and Richard Prince – associations between art and fashion that have become textbook examples for the industry.

A Magical Production

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Lost in the Dark presents Ondine by Jean Giraudoux

When I was a child, I used to make up plays.  They would often involve princesses, love stories and magical powers.  Ondine is exactly the type of play that child would have loved: the embodiment of the sense of wonder that draws us to drama in the first place.  To bring this off in a small fringe venue like the White Bear is no small achievement.  But bring it off to a very high standard is precisely what Lost in the Dark have done.

Ondine is the story of a supernatural creature who falls in love with a mortal man..When Hans and Ondine meet, the worlds of a mortal man and a magical creature of the water dangerously collide and she is forced to make an inexorable pact, which will change both their lives forever. Should he betray her, he must die and, along with her time on earth, be erased completely from her memory for her to return to the world of the lake forever.

The first thing to strike me when I entered was the set.  Auguste (Michael Eden) and Eugenie (Terry Diab) were already seated, she knitting, he reading, in a fisherman’s cottage, complete with daub walls and a working window.  The small oil lamps were a particularly nice touch.  Haunting music played from offstage.  The first act takes place in this kitchen, with Hans (Andrew Venning) and Ondine (Elizabeth Merrick) completing the cast for this part of the story.  The second set takes place in the Royal Palace, where Richard Hurst, Brice Stratford, Rob Leonard, Phoebe Batteson Brown, David Frias Robles, Marian Elizabeth and Hilary Hodsman make their debuts.  The final act takes place on a rock by the sea, where the story comes to its tragic, but inevitable end.

There were no bum notes in this production, although a personal preference would be for the actors not to turn their back on the audience quite so much, but apart from that they dealt with the small space admirably.  Everyone involved did a fantastic job: however, there are some who deserve a special mention.  Firstly, set designer Zanna Mercer has created three excellent environments for the play, which are spectacular by the standards of black-box theatre.  Andrew Venning grabbed my attention from the moment he came on stage, and continued to captivate the audience throughout, with his expressive, heartfelt delivery and physical presence.  Elizabeth Merrick was superb as Ondine, her opera training showing to advantage in her movement, her vocal range, and her portrayal of wide-eyed wonder, tragedy and love.  The final scene between Ondine and Hans was particularly poignant, with both actors showing marvellous emotional depth.  Marian Elizabeth gave a lovely, credible performance as Bertha, particulary in one scene, where I almost believed she had a live bird in her hand.  She played the part with charm and grace.  I would have liked to see more of Phoebe Batteson Brown (Voilante/Kitchen Maid).  She drew my eyes whenever she was on stage and although her parts were small, they gave indications of a much larger potential.  Finally, a play is only as good as its director, and Cat Robey must take a large amount of credit for this magical piece of theatre.

Ondine is running at the White Bear Theatre, London, SE11 4DJ, 28th February – 18th March 2012, Tues-Sat 7:30pm, Sun 6pm.  For more information, visit www.ondine-lost-in-the-dark.com.

 

Support East Sussex Wildlife Rescue and Ambulance Service and win wildlife art

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East Sussex WRAS was established as a voluntary group in 1996, but some of its rescuers have been rescuing since 1985. The organisation was set up in order to provide a front-line rescue service for wildlife casualties who unlike their domesticated cousins, do not have owners to help look after them. WRAS covers a large area and works with 11 different veterinary practices.

On average it costs WRAS £65 to be on call for and respond to a call-out. The vans, the mobile phones, veterinary bills, equipment stored in the vans etc are expensive and need replacing on a regular basis. This is why they need your help.

Local pet and wildlife artist Sandra Palme is helping to raise funds for WRAS and has created a unique pastel portrait of a little fox cub exploring his world. You can win this beautiful portrait and support British wildlife at the same time. All you need to do is donate as little as £5 – either here http://www.justgiving.com/foxportrait or via PayPal (to donations@wildlifeambulance.org – just add the words “Fox raffle”). It’s similar to a raffle ticket and your name will be entered into the prize draw on 31st March 2012. If you donate £20, your name will be entered 5 times!

On behalf of WRAS, the many animals they rescue and nurse back to health and artist Sandra, thank you for your support!

Burlexe – Interview with Cast Member Dympna Messenger

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Tell us a little bit about yourself as a performer.

I was a “late starter” and came into the business after bringing up my 3 children and a stint of teaching drama in a Dagenham comprehensive. Because I hadn’t waited this long and trained this hard in order to be unemployed, on graduating I formed my own company “Time of Our Lives Music Theatre” with Keith Myers who had directed me at Drama School, sadly we lost our funding in 2008 so I am now relying on other producers to employ me and have the headaches.

How did you get involved with Burlexe?

I got involved with Burlexe by responding to an ad in Casting Call Pro, I never dreamed I get the job but so glad I did, it is so totally different to anything else I’ve ever done.

What was your impression of Burlesque prior to this?

Before this job I had no idea the Burlesque world existed! I was vaguely aware of things like Gypsy Rose Lee and Strip Tease.

What is it now?

Working with the Burlesque ladies has totally opened up my eyes to a whole style of entertainment that is the descendant of old fashioned Variety and Music Hall of which I am a big fan.

Has doing Burlexe changed you in any way?

Doing this job has been a revelation. I would love to have a discussion/debate with “women’s libbers” who disapprove of this type of thing, but my Burlesque friends tell me that they find what they do to be liberating and who am I to argue with them!

When and where is the next show?

The next show is in The Shadow Lounge, Brewer St, Soho on Wednesday 21st March at 8pm.  Frost readers are entitled to a £4 discount when they use the code burlx4ma.

Read our review of Burlexe here.

FREUD SET TO DRAW IN DA VINCI LEVEL CROWDS

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Art loving ‘Exhibitionists’ scramble to get tickets to the next big show in town. Lucian Freud star still burns bright despite his death.

Demand for Lucien Freud’s Portraits exhibition, which opened on 9th February, is set to rival that of Leonardo da Vinci: Painter at the Court of Milan, according to viagogo, Europe’s largest ticket marketplace.

The company selling the tickets, viagogo, is currently experiencing one search per minute for sold out weekend tickets to see the iconic artist’s work. The site also saw a 236 per cent spike in demand for tickets during the Lucien Freud: Painted life BBC documentary on Saturday, which profiled the life of the artist who was still working on his Portraits exhibition until his death last summer.

viagogo has identified a new breed of ‘Exhibitionists’ so desperate to get their hands on tickets to the latest art shows that they are driving demand and prices on ticket marketplaces. The most wanted shows ‘Exhibitionists’ are searching for at the moment include Freud, Hockney and Picasso, with popularity for them rivalling searches for Coldplay, JLS and Ed Sheeran.

Ed Parkinson, Director of viagogo UK said: “da Vinci was a record breaking exhibition based on ticket demand, but the critic’s glowing reviews and the current demand for Freud tickets has arguably cemented the show as next hottest ticket in town for a new breed of art loving ‘Exhibitionists’.”

A Refreshing Addition to the London Fringe Scene

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A Weekend at Vault

According to the publicity, Vault transforms a newly discovered labyrinth of tunnels underneath Waterloo to offer London three weeks of kaleidoscopically varied entertainment between 9 and 26 February 2012. Many of the shows in the festival are in the immersive theatre style, and whilst I have been a cast member in several immersive, promenade, and physical theatre shows, I have never been a spectator (aside from Alien Wars in the Trocadero many years ago). With this in mind, I went down to check out the opening weekend on behalf of Frost.

This was my first visit to the Old Vic Tunnels, and there was a certain frisson to arriving at Waterloo Station on a frosty February Saturday night, walking down the almost deserted street and descending the staircase into the graffiti covered underpass. Once at the door however, I was warmly welcomed and directed towards the bar to await the start of the 8pm performance.

Don’t Stray from the Path by the Wonder Club

I was excited about seeing this production, described as a beautifully dark spectacular promenade performance based on the story of Little Red Riding Hood. It started very well, with the action beginning in the bar as both Little Red Riding Hood and a musician sat on top of a couple of lockers, and other cast members came to talk to the soon to be audience. Eventually, we were all lead down the tunnel to the “Forest of Elsewhere,” where the adventure was to begin.

How to describe Don’t Stray from the Path? There was a strong physical theatre element to the show, including some excellent circus skills, and the promenade aspect was certainly there: however I think I have to come down on the side of performance art, as it was the meticulous attention to detail that really impressed me.

The Wonder Club made the decision to divide the venue into two levels, which almost doubled the room for installations, but I think it might have been better to use the height to elevate parts of the performance, particularly the aerial work, as the volume of people made it hard to see what was going on at times. The music was lovely, and one particular song held my attention during a dance where I could barely see the tops of the performers’ heads. The acting in this piece was dramatic rather than naturalistic, which I assume was a stylistic choice on behalf of the director. The ending was particularly good, with Red Riding Hood and the Woodsman bringing us full circle. The girls eerily smeared with chocolate on the way out were also very evocative of the dark side of fairy tales.

Overall, I enjoyed Don’t Stray from the Path, and would recommend it to fans of fairy tales, promenade theatre, and performance art. There were some very good ideas, and striking physical and musical performances from all concerned – it was a truly collaborative ensemble work, which makes it impossible to pick out anyone for special mention. I admired it on an intellectual level, but with a smaller audience and/or a bigger space, I could have really felt the Wonder.

Don’t Stray from the Path finished its run on 12 February. Visit http://thewonderclub.co.uk for details of future performances.

The Furies by Kindle Theatre

While waiting to get into the next performance, the queue was patrolled by bouncers, and T-shirts and CDs were on sale nearby. We entered a sweaty basement club, where we were greeted by the sound of pounding drums and guitar (Russell Collins and Phil Ward). And then came the girls.

The Furies is basically a rock opera telling the story of Clymtenestra. It is billed as a fusion of rock, metal and soul songs, but I would say that it is also heavily influenced by classical opera. Emily Ayres, Samantha Fox and Olivia Winteringham all have powerful voices and strong physical presence, and there wasn’t a dull moment either musically or story-wise in this audiovisual extravaganza. Clymtenestra was an operatic diva, some group songs wouldn’t have been out of place in a pop musical, and others, particularly those by Agamemnon, were pure heavy metal.

This wasn’t a promenade performance – the audience were not moving around following the action. As there was no seating, this meant standing in one spot for an hour, which for me meant being distracted from the enjoyment of the performance by physical discomfort. It wasn’t until I moved to the side and held on to a lighting rig, that I was able to be carried away by the music. Putting in seating appropriate to the setting, ie, rough chairs and tables, would only add to the atmosphere and make the audience’s experience more enjoyable – it would also make some of the show easier to see.

The Furies starts on a high and keeps getting higher, climbing to a spectacular finale. Although the staging is interesting and atmospheric, it would work equally well in a traditional theatre setting. Unfortunately I had to leave before the encore, as the next show was due to start. This is definitely one to watch. Thoroughly entrancing, mesmerising music.

The Furies is playing at Vault for the rest of the festival, ie, Thursday – Sunday until 26 February. Visit www.kindletheatre.co.uk  for more information on the company.

The Great Puppet Horn by Pangolin’s Teatime

The final show of the evening was The Great Puppet Horn. Comfortably seated in the front row, I looked forward to something that would once again be a complete contrast to what had gone before. Accompanied by the Harry Potter theme music, Jeremy Bidgood and Lewis Young appeared on stage to introduce their show (the horn is ambiguous, apparently).

Puppets and political satire proved to be a serendipitous combination, and I was soon howling with laughter at The Boy Who Lived – in the East Wing (David Cameron). The audience were treated to magical explanations for university fees and immigration policy, and told about the influence of boy bands on the economy. There were also other non-political topical comedy sketches, such as The Life of Brian (Cox). But my personal favourite was Grammar Cop. Being somewhat of a pedant, grammar-wise, and a part-time English teacher to boot, it was hilarious to watch him battle his arch-enemy Mr A Postrophe.

This is basically a traditional comedy show with shadow puppets – which were excellent by the way: the skill in both their manufacture and use was evident. The only audience interaction was when, during the Grammar Cop sketch, there was a threat of reading Molly Bloom’s soliloquay – I couldn’t help begging them not to.

The Great Puppet Horn was well-paced, with the laughs coming thick and fast, and I had tears in my eyes by the end of the performance. I wouldn’t be at all surprised to see Pangolin’s Teatime on our television screens soon. Catch them if you can.

Like The Wonder Club, Pangolin’s Teatime finished their run at Vault on 12 February. Visit http://pangolinsteatime.com for news of future shows.

Vault Lates – Itchy Feet

As the puppet show was 20 minutes late in finishing, the vintage dance party was well under way when I returned to the bar area. If I say that Booker T & the MG’s Green Onions was playing when I entered, and that the last song I heard was Higher and Higher by Jackie Wilson, it will give you a flavour of the sort of floor fillers being spun by the DJ. The floor was hopping, though not unpleasantly crowded. If I’d had a friend with me I would have danced the night away, but, as I was alone, I left, like Cinderella, at midnight, to catch the last train home, already looking forward to returning the next night.

One night only at Vault. www.itchyfeetonline.co.uk

La Boheme by Silent Opera

Audience members at Silent Opera are given headphones to wear throughout the performance, through which the live singing is mixed with the pre-recorded score. This is a very clever means of having a full orchestral sound in a fringe venue. The sound quality was excellent throughout, which I assume was due to Sound Designer Ed Currie.

After checking our coats in the cloakroom, the audience found ourselves wandering round a Christmas market where Colline (Tim Dickinson) tried to interest me in a Greenpeace campaign. We were then escorted upstairs to Marcello, Rodolfo, Colline and Schaunard’s flat, where the opera began.

We were moved between several locations during the course of the show: some worked better than others. The flat, for example, was excellent, with various forms of seating round the outside (I sat on a blow up chair the first time) and the action taking place in the middle. The scene in the bar worked pretty well also. However, the occasions where the audience was standing three deep against the wall didn’t make for good visibility (I kept missing all the snogging bits!) and I would have found Mimi’s death scene more moving had I not been sitting on a cushion on a crowded floor.

I am a bit of a sucker for opera, and have been lucky enough to see both the Royal Opera and the ENO over the years. Musically, Silent Opera gave them both a run for their money. The score, by the London Symphony Orchestra, was wonderful, and all of the singers gave flawless vocal performances with emotion and pathos. The acting was strong, particulary by Mimi (Emily Ward), Rodolfo (Alistair Digges), and Colline (Tim Dickinson), as well as by those in the non-singing parts. Daisy Evans’ libretto was clever, interesting, and quite funny in places. The setting of modern day London worked well, and the headphones seemed to add, rather than distract from, that sense of being absorbed in the story which to me is the sign of good theatre (particularly opera or musical). I would have no hesitation in recommending this production to anyone, whether an opera buff, or someone experiencing the genre for the first time.

Silent Opera is playing at Vault for the rest of the festival, ie, Thursday – Sunday until 26 February. Visit http://silentopera.co.uk  for more information on the company.

So, after spending the weekend at Vault, what are my feelings on immersive theatre? They are mixed. Don’t stray from the path was a promenade performance with lots of audience interaction, but with the other shows the audience interaction was limited and sporadic. Yes, I was close to the performers, but that is generally the case at fringe venues. I think perhaps there is a delicate performer/audience balance that needs to be achieved – although I am not suggesting one audience member at a time, as happens in some productions.

In conclusion, I would encourage one and all to visit Vault before 26 February when the festival finishes. All the performances have something to recommend them, and the venue is warm and welcoming. It truly does offer a kaleidoscope of entertainment. A refreshing addition to the London fringe scene.

Although The Wonder Club and Pagolin’s Teatime have both finished their run at the vaults, the studio performances are constantly changing. Both The Furies and Silent Opera are running till 26 February. More Vault Lates are on 17, 18 and 24 Febuary. There is also a cinema, where the Flicker Club hosts a season of horror films (mostly Hammer). Visit http://www.thevaultfestival.com for more details and booking.