Category Archives: Art

Ken Artspace

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In the midst of the Kennington Cross triangle nestles a quiet gallery that until last week the Runoff had never visited. Ken Artspace is run by artists Agalis and Rob, who live upstairs and decided to create a gallery space on the ground floor when the property beneath them became available. In the 1960’s the space was inhabited by a grocery/pet shop with a sign that read ‘Mixed Marvels’ at the upper level and this inspired the artistic duo to curate a show themed on the sign. 

Ken Artspace’s most recent exhibit is named after the aforementioned sign and features eight established artists, most of whom have had a solo show at  Artspace, working on small canvases. Microbial beings, cellular shapes, and dreamy Swedish landscapes fill the room as well as more figurative mixed media works about travel. A stand out for us was Jeffrey Dennis’s paintings inspired by 1970’s catalogues of home furnishings. We particularly enjoyed the series ‘Boxhead’ by London artist Jane Gifford, below, as it reminds us of the way that most of PR team feel the morning after the Runoff Christmas party at the Tommyfield pub. 

If this exhibit doesn’t tickle your artistic  fancy your artistic collarbone you might want to follow them on the socials as they have an intriguing mix of occasional pop up exhibitions and little events. The creative installations in the window also provide visual relief on a little street punctuated by a dry cleaner, a chippie, and a defunct Chinese joint. And of course, popping in by no means obliges to you buy anything or is even a statement that you’re an art fan.   Happy viewing! 

Mixed Marvels is exhibiting now until 22 December. The gallery is open Thursday to Saturday and like all tasty morsels in life, is totally free. 

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The New Gallery at IWM

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Last week we attended the gala opening* of the spanking new Blavatnik Art, Film and Photography Galleries at the best museum we bet you’ve never been to, our very own Imperial War Museum. This permanent gallery is a valued addition to the Greater Kennington cultural landscape (it’s a thing, trust us) and includes works by Henry Moore, John Singer Sargent, Walter Sickert, Cecil Beaton, and Wyndham Lewis to name but a few. 

The galleries are laid out by themes and are chronological, from WW1 to 21st century conflicts. As with the other display areas at IWM, these new galleries don’t seek to glorify war but rather to explain it and how it can be avoided. This is achieved by a captivating mix of propaganda posters, photographs (the gallery own 12 million),  armaments, film clips, cameras, and first hand accounts. But the great achievement here are the paintings, with the highlight being the recently restored work ‘Gassed’ by Sargent (below). We could have probably spent several days in the gallery’s two screening rooms but the Runoff overlords would have none of it. The reel of clips range from footage of the D-day landings to advice about how to make a wartime compost heap. 

Gassed

Rather than being a historical record, the galleries include current work showcasing the conspicuous talent of artists such as Steve McQueen (the Oscar winning artist, not the formerly living action hero). He’s represented here by his artwork ‘Queen and Country’. Also in the mix are descriptions of anti war protests, marches, and attempts to avoid war. This is interesting in its own right, but especially when  considering the complex dynamics of what is transpiring in Gaza and Israel at the moment. But a celebration of war artists and photographers is the beating heart of these expansive and well thought out galleries.

You might be reading this and thinking that the IWM is nationalistic and not your cup of chai. We get that, but we are duly challenging you to get your Guardian reading, tofu buying  selves over to the IWM when you have a spare hour of two.  And as you’ll be in the neighbourhood anyway, why not check out the fascinating exhibit about spies and deception that we wrote about a few weeks ago? Did we mention that they have a stonking café with pretty cakes and sarnies? 

*We coincidently pitched up the day it opened 

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The Great Volcano of Walworth

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Are the proud residents of Walworth aware that you once in your very midst had a Vesuvius like, spewing cauldron of a volcano? It was part of the Surrey Zoological Gardens and we wrote about the gardens and the poor critters who lived there over the summer. 

Surrey Zoological Gardens were established in 1831 and situated roughly where Pasley Park currently resides. There are interesting signs in the park detailing the brief but exciting existence of its previous inhabitants and well worth a casual visit. At one side of the vast garden landscape (this was primarily farmland at the time) was a large lake with paddling boats. To get in the punters, the proprietor commissioned a painted illustration of Vesuvius and the city of Naples at the back of the lake, and due to demand later pimped this up with a much bigger landscape, requiring 7000 yards of canvas. This created the illusion that boaters were in a palm fringed Bay of Naples as opposed to a weedy swamp in south London. 

The competition to attract pleasure seekers in early 19th century London was tough, and the gardens decided to ape reality in another way by making the painting more immersive. At sunset Vesuvius would come to life by erupting with smoke, fire, underground thunder, and even fireworks. This added titillation was a sensation for people at the time and they flocked in their thousands. If punters got bored there were the added attractions of a music hall, food, and a menagerie of exotic but totally misunderstood animals. 

Sadly, the allure of premature death at the hands of fake molten lava and flying rocks grew old, and after 1847 there is no more mention of our enormous painting and the spewing fire behind it.  And several years after the Gardens themselves closed owing to the allure of Crystal Palace further down the road and the libidinal pleasures of Vauxhall Pleasure Gardens, which itself was in its final days. Proof as it was ever needed that attracting the attention of Londoners is by no means a current undertaking. 

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Cruising for a Bruising

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We like to check out the latest exhibits at our very own Gasworks Gallery in Oval as we care about our readers and the gallery is just a little unorthodox (Styrofoam coffins!). The current exhibition is by artist Trevor Yeung and he uses the structure and maintenance of plants to explore how humans relate to one another, and in the show delves into how people use nature in the gay cruising area of Hampstead Heath, which has been popular with cruisers (famously George Michael) since the 19th century. 

The gallery rooms are almost totally dark so you might want to let your eyes adjust when you enter the immersive space or you’ll be cruising for a bruising. Once adjusted, you’re in an ethereal wooded space just before sunrise and you’ll need to rely on the sounds and smell of nature to guide you. The smell is of pheromones, earth, and Lynx body spray. You’ll also notice landmarks such the famous ‘piss tree’ in addition to a tinkling fountain, acorns and leaves. 

What Yeung has created is a clandestine world loaded with feelings punctuated by brief, fleeting encounters. The brevity is mirrored in a misty early morning shroud that will itself disappear quickly. To some this part of London might be very well known, to others it’s as shrouded as the rooms that Yeung has created. 

We told you it was dark

Most of us in the office know London well and have never heard of the aforementioned ‘piss tree’. When your scribe asked Phil from accounts he squirmed in his seat and replied, while not taking his eye off his spreadsheet, ‘I don’t know what you’re talking about’. We believe you, Phil. 

Trevor Yeung: Soft Ground is open now until 18 December and is totally free. Gasworks is open from 12:00 – 5:00 Wednesday to Sunday so you’ve been advised. Associated with Soft Ground, there is a scent workshop this Saturday from 12 – 3 exploring scents and how they make us feel. We don’t have evidence that this is linked to the piss tree. 

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Van Gogh House

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We recently took advantage of a discount to make the bold and frankly quite terrifying decision to step out of Greater Kennington to visit the Van Gogh House on the Oval/Stockwell borders. The house isn’t really a museum per se, and was described by the perky and well drilled staff person as ‘a gallery space for people inspired by Van Gogh and other artists’. 

In a reality that might seem a bit surreal to the unaware, before becoming an artist Vincent Van Gogh did indeed live around the corner from the present day Lidl in Stockwell. The house outlines his life at the time through the letters that he prolifically wrote to his brother Theo, a few photos and drawings, and the efforts made to establish Vincent’s  residency in the home in the 1970’s. The rooms also offer a fascinating glimpse into a busy 19th century boarding house and school, where 11 people lived. 

On the gallery front,  the exhibit on now until 17 December is called ‘The Living House’ celebrating the 150 years since the great man’s residency. The exhibits explore the notion that the home is still inhabited in some manner and plays on the notion that the house is a collaborator in the artistic process and toys with the concept that art and living are entwined. And you even get a bar of soap for your cerebral efforts.  

Until 30 September Lambeth residents can visit Van Gogh museum for £4 and tickets can be nabbed here. If you live in Southwark then sorry, no discount for you. If you live in Wandsworth we’re not sure why you’re reading this site but should nevertheless be applauded for your profoundly good taste. 

If the sound of Van Gogh House makes you want to chop your ear off, you can instead go to the very tasty Van Gogh vegan café nearby, which has been rocking our top ten list © for a number of years. 

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Greengrassi Gallery

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We have to admit that we were only made aware of this Kennington gallery by a tourist website (and its usually them nicking ours ideas). So after we did a bit of research we discovered that Greengrassi is a rather enigmatic independent gallery with rotating exhibits by groundbreaking artists such as Turner Prize winner Tomma Abts. So under the guise of sunhatted local art aficionados, we recently popped over to inspect their latest offering, ‘nightlight’ (poor punctuation not ours) by Karin Ruggaber and Simon Ling. 

Karin Ruggaber is a professor at Slade and works in sculpture. Working with a range of different media, her work explores aspects of touch, feeling, and our relationship to architecture. She’s been exhibited at Tate Modern so she probably knows what she’s talking about. Simon Ling is a studio based painter who depicts materials mostly found but sometimes made. Ling’s subjects include rotting pieces of wood, undergrowth and (stick with us) circuit boards. He gives these unloved items a sense of agency by adding beauty, thereby making them valued again. 

Karin’s work at Greengrassi is an edit of 75 photos she took following in the footsteps of two amateur photographers in Rome in the early 20th century. The pictures depict fountains and buildings in Rome and are manipulated into quite stunning and tiny sepia/silvery images. Simon’s quite monumental paintings depict rotting and unwanted plants in a setting somewhat like a deserted garden centre. In a sense these captured plants exist somewhere between life and death and create a dystopian yet optimistic view or our green world. 

Greengrassi is at 1A Kempsford Road behind the Cotton’s Garden Estate and is totally free and open to the public. It is located behind some rather sinister looking black doors but don’t let that put you off! Open Tuesday to Saturday 12-6. nighlight is on until 29 July. 

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Brian Clarke at Newport St.

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Most of us equate stained glass with ecclesiastical feelings of guilt, forgiveness, penitence and, in our case, parental disappointment that we’ve chosen to work at a publishing house that might not actually exist. However, the newest offering at Vauxhall’s Newport Street Gallery takes stained glass out of the church and challenges us to consider it as a stand alone form of art, and we’ve just checked it out for you. 

Brian Clarke is regarded as the most significant figure working in stained glass today and the current show, ‘A Great Light’, is an overview of his output over the past 20 years. On the ground floor we encounter a quite mesmerising new work called ‘Ardath’, a huge wall of mouth blown glass depicting a floating, flowering meadow in springtime. A selection of Matisse like cut outs complement the work on the opposite wall. The other downstairs rooms feature skulls in a variety of settings. 

Upstairs we are presented first with an aquatic theme, in which a warship and men on a beach appear to be oscillating and moving in dot matrix compositions. The final rooms are the most interesting, and consist of a series of folding screens which possess a kind of ethereal beauty. Screens are intended to prevent us from seeing something, but these screens invite us to look through them with their depictions of jellyfish, heraldry, and flowers. Also in these galleries are smaller, jewel like panels presented on plinths. 

A Great Light is foremost an uplifting and life affirming body of work (in spite of the skulls) and feels quite appropriate for a sunny summer’s day. And if you don’t like stained glass they have an ace selection of merch to make your friends think you’re a real art connoisseur. 

Brian Clark, A Great Light is open now until 24 September at the Newport St. Gallery and is totally free. Just turn up.

Some of the merch
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Strike! At Southwark Playhouse

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We recently popped into our much loved Southwark Playhouse to review their latest offering ‘Strike’ and we’re here to tell you rebellious souls all about it. Those of you lucky enough to be Runoff regulars will be aware that the Playhouse now has two locations. Strike is staged at the original-but-soon-to-be-extinct venue in Newington Causeway. The new, more flashy venue is much closer to Kennington in Newington Butts at the base of curiously named high rise Uncle. 

Strike is a true story set in Dunne’s department store in Dublin circa 1984. When a worker follows through with directives from her union and refuses to sell an item made in South Africa, she is suspended from her role. However, she takes 10 like minded colleagues with her and the story evolves into life on the picket line. As their movement grows the group learn lessons from South African exile Nimrod, who had been incarcerated at Robben Island with Nelson Mandela and gives insight into daily life under Apartheid.  

In spite of opposition from Dunnes, the Catholic Church, the government and even union bosses themselves, the strikers persevere and their profile grows and they begin to spread their message as far as the United Nations and beyond. After 2 ½ years Ireland becomes the first western nation to ban South African agricultural goods, contributing to the fall of Apartheid two years later. Although the subject matter is bleak and serious, the play is at times funny, touching, and even has a few musical numbers thrown in. 

Strike is about justice, rebellion, and the right to stand up for what you believe in, which more or less sums up most Greater Kenningtonians. The only thing we could fault about this play was that it didn’t celebrate the fact that almost all of the strikers were female and had to make great sacrifices to pursue what they felt passionately about. However, with all of the strong ensemble female roles this will become evident to everyone in the audience. 

Strike is on now and runs until 6 May at the old venue. For some strange reason there are still tickets available and they can be purchased here. 

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Nocturne at Gasworks

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If you visit us regularly here on the Runoff you’re aware that when a new show arrives at Gasworks Gallery in Vauxhall we like to check it out for you. If you’ve never been to Gasworks it’s located at the Oval end of Vauxhall St. and is perfect if what you really demand from a gallery involves Styrofoam coffins or dolls that talk to you. 

The current installation at Gasworks is ‘Nocturne’ by Swedish artist Ingela Ihrman. Her practice focusses on nurturing empathy and a sense of wonder at all living creatures, with an emphasis on cave dwelling Oilbirds. Guests can literally merge with nature itself by walking through the exhibit while wearing a sculptural cloak made from wool and, um, air fresheners, which can be found behind the reception desk 

The gallery itself is cast in cave like semi darkness, with some quite beautiful hand made feathers dangling from the ceiling. There are also two video installations, the first being a gastroscopic journey through the digestive tract of a snake. In the second, the artist feeds a handmade Oilbird a variety of fruits, including a pineapple that is bigger than the bird itself. The overarching theme being a thought provoking examination of how we rely on nature and it relies on us. There are other themes too, but we’d never do your thinking for you you’ll have to check it out for yourself. 

Ingela Ihrman: Nocture is on now until 30 April and is totally free. Gasworks Gallery is open Wednesday to Sunday 12 – 6. 

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Greater Kennington’s Greatest Occult Painter

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The eccentric and independent nature of Greater Kenningtonians runs deep in our history and veins. In our midst we once had living a visionary artist who was cast out by the artistic establishment due to his refusal to accept to artistic norms and being from south London. Maybe this piece will go a small way in reviving his legacy. 

Austin Osman Spare (1886 – 1956) and his family moved to Kennington Park Gardens when he was a boy and Spare trained as an illustrator and artist. He got his first big break when he was just 17 with an exhibit at Newington Public Library (now the Art Academy) in Walworth Road. He followed this success with having a picture displayed at the Royal Academy, and was soon lauded as the new enfant terrible of his generation. This was spurred on by Spare’s wild hair and love of giving outrageous interviews. 

In spite of his increasing fame, Spare decided to pursue his own style which proved increasingly out of step with the art establishment. He dabbled into the furthest reaches of his imagination with coded paintings and illustrations depicting the unconscious, the occult, graphic images of sex, and paganism. Spare achieved this by painting in what he referred to as trance like states enhanced by mysticism. You can imagine his body of work was not exactly in step with post Victorian tastes as he was far ahead of his time and was marginalised as a result.

Unsurprisingly, as Spare’s art was not to everyone’s tastes he faded into obscurity and penury. However, our local boy continued to give interviews and churn out work from his tiny flat/studio at the top of Walworth Rd. He believed that art should be enjoyed by everyone, and he often displayed his art in local pubs. After his studio was bombed in WW2, Spare lost much of his collection and confidence and began to build up both gradually. The culminated in a large exhibition of his work at his local, the White Bear pub in Kennington Park Road in 1953. When this turned out to be a flop he retired and died several years later. What we are left with is his groundbreaking oeuvre of work and a realisation that we can all leave impressions after we’ve departed Greater Kennington. 

The best way to appreciate Spare’s work today is to examine online collections, as his work is still usually not on display. He also had an endearing side hustle in painting his friends and neighbours. The BBC clip below relates to a 2010 exhibit of his work at the Cuming Museum: