Under the flimsy guise of being actual journalists, we just attended the private view of the huge MA degree show over at City and Guilds in Kennington Park Road. This year does not feature the usual staples of woodcarving and conservation, with a larger emphasis on painting and sculpture. However, it extends over to the old telephone exchange in Kennings Way.
The themes this year seem to run the gamut to contemplations over solitude, to Japanese anime, to broken pottery. The MA show is totally free and open this week (Tues-Thu) from 11:00 to 17:00. It’s open until 20:00 on Friday with the tantalising caveat ‘bar from 18:00’. It closes on Saturday, 10 September at 17:00.
We have an intriguing exhibit and sauna (?) to tell you about at the ever avant garde Beaconsfield Gallery in Newport St. The exhibit is ‘Monica Soo – The time is NOW and it is overdue!’. Soo was a feminist Swedish painter who explored subjects which are now researched and discussed but were at the time still mostly not part of the common vernacular. Namely, anguish about the environment, systemic violence against women, and non binary ways of living. This is told through the vehicle of the celebration of the Goddess culture. This isn’t the most uplifting giggle of an exhibit, but it is thought provoking and in a way is even immersive, as the paintings and drawings snake up the wall.
Sticking with all things Scandi, also being exhibited is ‘The Finnish Sauna’, created by architect Sami Rintala in collaboration with architecture students from the University of Westminster. We had a chin wag with gallery staff about just how in the world a mobile sauna ended up in their car park, and they explained that it has been transferred from the London Festival of Architecture, who they have collaborated with for years. Inside you’ll find all of the usual accoutrement associated with a sauna, such as coals and a giant ladle to pour water over your head. Also in the car park is a watchtower associated with the Soo exhibit. We’re not sure what it was for, but it afforded sweeping views towards Pimlico Plumbers.
Monica Soo – The time is NOW is open until 10 September and the Sauna until October, and private bookings for the sauna can be found here. When a show is on (which isn’t very often) Beaconsfield Gallery is open Wednesday – Saturday from 12-5 and is totally free. However, getting inside the sauna costs £20 and Runoff bosses refused to sign off on it. Perhaps we approached the topic wrong when we said ‘please give us 20 quid to visit a sauna in Vauxhall’. We’ll try to be more subtle in future.
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 demand from a gallery involves Styrofoam coffins or dolls that talk to you.
The new exhibition at Gasworks is called ‘Earth is a Deadname’ by Rotterdam based artist Lou Lou Sainsbury. This show was commissioned by Gasworks and is an exploration of transgender life outside the limiting language of medicalisation. The exhibition revolves around a performance film which touches on aspects of intimacy, feelings of difference, chance encounters, and evolution. A giant cymbal also features on screen and over your head but were going to leave that interpretation up to you. There is also a bedroom cabinet in the room with a range of items telling us that the trans experience is a collective one of unmaking and making the body.
The larger gallery is dominated by a large scale glass installation with fluctuating levels of transparency, again alluding to the trans journey. As the journey is rarely straightforward, imbedded in the glass are trapped cigarette butts, dried flowers and other debris. The exhibition is punctuated by flesh like texts on the walls which swell like scars or stigmata. All very thought provoking for a little gallery in Vauxhall, and time well spent.
Earth is a Deadname is on now until 18 September and is totally free. Gasworks is only open in the second half of the week so have a look at their website. The amber resin on the floor is part of the exhibit, so in your leaving comments please don’t write ‘Sainsbury, clean up in aisle one’!!!!! (we couldn’t help ourselves).
The Queens Platinum Jubilee is getting nearer, and if your state of mind is along the lines of ‘well this is all very exciting but I can’t be bothered to leave Greater Kennington’ then we have something you might enjoy. The Imperial War Museum has just opened a compelling exhibit of the Queen in wartime and it is set out over three sections.
The first gallery is a selection of 18 large format photographs outlining the Queen’s journey through conflict, from growing up in WW2 and more modern conflicts, to sticking decorative pins on people. The Royals in Wartime section is more of a dedicated route around the IWM exploring the Royal Family’s long connection to the armed services and the key role they’ve played in terms or morale and logistics over the years. The Royal Family in Wartime is the third exhibit and it features 53 photos outlining out the Royals commitment to the armed services over the decades, from directly serving in the army, to Elizabeth serving in the Auxiliary Territorial Service (ATS) in spite of being told not to. Well done..
The exhibit has mostly been pulled together from the millions of items the IWN have in storage, and this is what they always do very well. This vast resource enables curators to carefully select items that even predate the Queen (if that’s even possible).
‘The Queens Platinum Jubilee at IWM London’ is open from today until 9 June. Entry is free but nabbing a timed ticket is recommended. However, if you’ve forgotten to book, or you’re just lazy, turning up is usually fine as they haven’t checked our tickets recently.
Hot off the heals from Craft Week, City and Guilds of London Art School is at it again and having it’s annual show and we’ve had an inspection. The artists are completing their foundation year, so the work is less advanced than the much grander Degree Show (we’ll get on to that in a tic). The students are studying a more proscribed range of styles than their more advanced counterparts but are much more experimental (read, slightly mad but very interesting). The themes this year seem to be 1. Saving the planet 2. Handbags 3. Saving the planet through handbags 4. Rocks. If you want to impress your friends bring them along and when they invariably ask ‘well, what DOES it mean’, try rolling your eyes and saying ‘its about IDENTITY’. If that doesn’t work try ‘can’t you see, it’s about UKRAINE’.
The Foundation show is on tomorrow (Friday the 20th) from 10 – 5 and Saturday 10 – 5. It’s in the old telephone building in Kennings Way
On 29 June to 3 July is the mighty (we’re talking huge) Degree Show in the main buildings of the college. It showcases a range of up and coming artists arranged in small rooms, so you can see a selection of their works. What we find most interesting is that you can see the work of historic wood and stone carvers in the back garden area. Also of interest is the areas dealing with conservation and restoration on the upper floors. And if you don’t care for something keep your trap shut as chances are the artist is behind you!
Another high point on the Greater Kennington cultural calendar takes place this weekend and we’re here to tell you about it. City and Guilds in Kennington Park Road are taking part in London Craft week on Friday and Saturday and it looks as if they are hosting a number of free (and we love free) events and demonstrations.
Various studios around C&GLAS will be open exhibiting a range of crafts and showing how stuff is made. In the paper studio students and tutors will be on hand to show paper related demonstrations and discuss paper conservation. In the printmaking studio, the head of printmaking will be hosting several (sadly now booked) workshops but others will be on hand giving demonstrations of different kinds of printing such as intaglio. We’ve been in this studio, and it is a fascinating space. Outside, students will be giving demonstrations of wood and stone carving and you can even have a go at carving yourself! Apparently there is a carving competition among students as well. This sounds frighteningly dangerous, but somebody losing a half a finger could be interesting nevertheless.
The press release enticingly mentions a free talk and tasting event sponsored by Fabal Lager (we’ve never heard of them either) on Saturday afternoon which sounds fun. Indeed, we reached out to City and Guilds to see if they were having a launch event featuring free wine and canapés which might just influence our review. Their response was ‘no’, but we’ve picked up the pieces of our shattered dream and moved on with our lives.
No ticket is required for this event, just turn up.
A great deal of the built environment around us in Greater Kennington can be linked directly to architect and visionary Edward Hollamby (1921 – 1999). Like many architects of his generation, Hollamby was profoundly influenced by the values of William Morris. Namely, those relating to equitable living conditions and the universal right for people to work and live in places which allow them to flourish. There was no better way to execute these values that by working for local government, and Hollamby worked for both the LCC and Lambeth Council.
Locally, Hollamby is known primarily for being the lead architect of the Brandon Estate in Walworth (behind Kennington Park), which we wrote about last summer. His vision for the estate was to build a community which addressed the individual and changing needs of its residents, make shopping easier, while also creating large green spaces to allow people to relax and children to play. And to make the area more aesthetically pleasing he even convinced Lambeth to commission a sculpture by Henry Moore, which is very much still there.
As lead architect in Lambeth Hollamby hired Peter Finch, who designed the Cotton Gardens Estate in Kennington Lane (we are aware that these buildings remain a tad controversial). Hollamby/Finch’s thinking is that they wanted buildings which ‘danced around in different directions’ depending on how one looked at them. It’s often overlooked that at ground level they created green spaces in addition to bungalows and maisonettes for people who didn’t fancy living in a high rise. A walk around Knight’s Walk around the foot of the buildings is a bit like a stroll in a park. And if the towers look very familiar to others in South London, that’s because they were all made from complex interlocking panels which were massed produced.
Hollamby was also the brains behind the unusual and rather playful Lambeth Towers in Kennington Road, with the lead architect again being Finch. The building was started in 1964 with the intention of being mixed use, which it is to this day, and the box like design intended to allow each maisonette to be double aspect and have its own balcony. These buildings are classed as being ‘Brutalist’ but that name seems to stick to every 20thCentury building with a bit of exposed brick. Figuring out when a building becomes ‘brutal’ therefore becomes rather like an architectural game of Wordle. You may or may not find these estates to be beautiful, but Hollamby always made the needs and wishes of the residents paramount.
The latest offering over at the Newport Street Gallery is the work of little known and exceptionally gifted artist Keith Cunningham, who mysteriously gave up painting just a few years after he started. Cunningham was on the periphery of the London Group of artists who among their number included Frank Auerbach and Leon Kosoff and the Group were intrigued by Cunningham’s powerful, if not at times gruesome and sinister, subject matter.
At least there’s no queue for the toilet
Cunningham was certainly a man with something to say, but not very interested who heard him, as many of these 70 works accumulated in his studio as opposed to being seen. He used a very dark and tightly controlled palette of colours with think coats of impasto, giving the works that are not under glass a 3D element, with the added drama of huge brushstrokes. In this manner he captures commuters, rabbits, and even squid.
At the moment there is an epic retrospective of Francis Bacon’s work at the Royal Academy (north of the river if you dare) and in way Cunningham’s depictions of blood crazed dogs, skulls, and angst is an interesting counterpoint to the great man’s work. It’s possibly not a coincidence that they’re being staged at the same time.
As you move through the well organised exhibit Cunningham’s work begins to tilt more towards abstraction and huge blocks of colour. The painting below is a still life. However, it rather reminded us of Phil from the accounts team when he fell over outside the Tommyfield pub after downing eight pints of cider at our Christmas party.
‘Keith Cunningham, the Cloud of Witness’ is on now until 21 August at Newport Street Gallery and is totally free.
If you follow art historical debates as fervently as our snooty ‘Culture’ department here at the Runoff does, then you’ll be aware that there are big debates afoot about the repatriation of objects that have been, lets say, ‘liberated’ from other cultures. Examples are the Elgin Marbles and Benin sculptures at the British Museum. The current exhibit at the Gasworks Gallery in Vauxhall takes a different approach to this question by asking museums to assess their relationship with life and death….Stick with us…..
The show is called ‘out of an instance of expiration comes a perennial showing’ and is by LA based artist Gala Porras-Kim. In addition to raising questions about the use of capital letters, the artist raises questions about the conservation of human remains and if sacred objects meant for the afterlife are devoid of meaning if extracted from a tomb and put on display, and to get her point across there’s even a giant sarcophagus in the main room. Next to the works are letters to museums asking about their curatorial practice and in one curious note she asks a curator if a mummy had been consulted before he was put on display.
As you walk through the works in the small space, the content of what is being asked becomes more apparent. How do we understand and respect items associated with death and how do institutions respect and deal with items in their collections which are still living (eg in an afterlife)? And if you prefer your art exhibits to involve mould spores and the contents of vacuum cleaner bags then this exhibit doesn’t disappoint. I mean this is Gasworks, after all.
As you know, we love free stuff and on Tuesday, 8 March at 7pm Gasworks will have a free talk about Pharaonic music and how the ancient Egyptians made instruments. Admittedly when we first saw this we thought it said Pharrell, but at least there’s still music involved.
Out of an instance of expiration comes a perennial showing is on now until 27 March and, like all good stuff, free. Look at website for opening hours.
We recently made a visit to the soon to be relocated Southwark Playhouse in Elephant and Castle to see a reworking of ‘Romeo and Juliet’. This production is set in Brixton (a popular neighbourhood south of us) in 1981 with a backdrop of Thatcher, The Specials and Madness. If these names mean nothing to you please ask your parents and feel free to read on.
In this production the Montagues and Capulets become rival council houses. The presence of pop music has the potential to make the production has the cheesy, but it is subtly done and used in the background. The play sticks almost entirely to the original script, but manages to weave into it a fair degree of humour and levity and the odd bit of swearing and slang. One monologue is delivered while a women is folding laundry and asking audience members to help her. And when talking about Juliet, Paris and Romeo have a bad habit of condoms popping out of their pockets. Exceptionally strong characters are Yinka Awani as a Friar Laurence determined to make a wedding happen come what may, and Fiona Skinner as a hilarious Lady Capulet who at the end of the day just wants to have giant piss up for Juliet instead of a wedding.
This production is part of Southwark Playhouse’s ‘Shakespeare for Schools’ project, will enables over 2000 Southwark kids to see the play for free during a series of matinees, but hopefully with the fucks and shits taken out. This year Southwark Playhouse will be moving to the top of Kennington lane, in the giant and strangely named ‘Uncle’ high-rise. While this has been in the works for ages, we’ve been informed that the move is imminent.
Romeo and Juliet is on now until 5 February and tickets can be booked here. There are six characters playing 13 roles, so it pays to pay attention. This is a very fast paced production and comes in at 1:45 with no interval, so get a large drink to take in from the very fun café. And to the bosses at Runoff HQ, we too had a large drink but this counts as a business meeting, like it or not
