Damien Hirst at Newport St.

Without a great deal of fanfare, on Wednesday Newport Street Gallery reopened with  a survey of Damien Hirst’s early work called ‘End of a Century’. The timing of this retrospective might be a coincidence or an intentional and very prescient observation of the world around us in 2020, as Hirst’s early work explored themes of death, healing, life saving medication, infection, and anatomy.  We checked out the show on it’s opening day. 

In the first gallery we were introduced to one of Hirst’s trademark dissected animals; this one being a baby shark in formaldehyde. Moving into the main galleries you might think you’d just wandered into aisle three at Iceland, as there were several freezers stuffed with frozen cow heads (we asked, and they are real). Also on show were Hirst’s trademark medication cabinets and a variety of medical implements. After an enormous anatomical model we’re left to ponder the slightly humorous ‘Shut Up and Eat Your Fucking Dinner’ (pictured at bottom) which was fashioned as a butcher shop window featuring a variety of meats encased in formaldehyde. Is meat murder? 


On the first floor we got to grips with several of Hirst’s spin paintings and dot paintings, with one actually spinning in the room. Surprisingly, there were several cubist inspired collages of found materials which Hirst created before he was a student at Goldsmiths, even then showing his early interest in mortality and resurrection. The most arresting work upstairs was ‘A Hundred Years’, in which a bloody severed cow head is being eaten by maggots who turn into flies who then get executed by  an inect-ocutor. We’re not making this up. 

Some of these works are almost 30 years old and don’t have the shock value they once possessed. But if your artistic taste embraces decapitated cow heads, meat, pills, blood, dead flies, and medical implements then this show will be right up your street. Vegetarians might want to steer clear. And lest you don’t give your mortality much of a thought during the pandemic, this show is a reminder of the profound fragility of organic matter. 

End of a Century is on now and until the end of March, 2021. Tickets are free and can be booked here.

Spirits in the Drawing Room

With the Gasworks gallery closed for now (reopening on 1 Oct) and Newport Street Gallery closed for the foreseeable, you might be feeling a tad culture deprived. We would like to share with you a little gallery in Elephant and Castle that has recently come to our attention, The Drawing Room.

The Drawing Room is a space to discover both historic and contemporary drawing in an open and accessible manner. They have an impressive art library and (probably not right now) have a series of talks, artist led projects, and hands on learning. The show currently on until the end of October is called ‘Not Without My Ghosts: The Artist as Medium’ and features work by Victor Hugo, Yves Tanguy, Sigmar Polke and William Blake, with many newer artists who, unlike those guys, are still very much of this mortal coil. 

It’s hard to overestimate the importance of the metaphysical, occult, and communicating with higher powers to 18th and 19th century society. This was not missed by artists and writers, who often considered themselves to be mediums who could communicate with the dead and other spirits. The output which resulted from this communication was strikingly at odds with prevailing artistic tradition at the time, which was increasingly concerned with learned artistic forms and rigorous training. The exhibit moves into the 20th century by examining current artists who continue using the concept of the unseen to grapple with the ambiguities of the world around us. Quite prescient given how 2020 has unfolded.

Not Without my Ghosts is totally free but it’s best too book first. It should be noted that most of the works in this exhibit are sketches and drawings, so don’t go in expecting a blockbuster experience. But on the bright side, after the show you might find a way to have a nice chat with your auntie Vera who popped her clogs back in 2015.  


Runoff gets cultural

Pimlico isn’t in Greater Kennington, so let us apologise in advance. However, you can actually kind of see it from Greater Kennington, so yesterday we packed our passport to Pimlico to check out Tate Britain on it’s first week of reopening. 

There have been split opinions in the media about the efficacy of reopening museums in the midst of a pandemic. Some see it as unsafe and also burdensome to have to be allocated a slot to view a painting, while others see it as crucial to an institutions’ survival and a source of inspiration for folks. All public galleries in London now operate via timed entry only, booked online (which means you can’t just swan in off the street). At Tate you are asked to choose two ‘routes’ through the free stuff; 1540-1890 or 1930-now.  Booking was easy enough with plenty of open slots.

We approached the gallery with an ominous feeling that we might be the only people in there, but were pleasantly surprised. It was about as busy as usual and felt quite normal (well if your definition of normal extends to walking around looking like a bank robber). There were arrows on the floor to guide you through the collections but it was more or less the route taken anyway, and there was no harm in visiting a previous room if you desire. There was no queuing in front of paintings and the rooms felt well spread out, with plenty of gallery guides present to ensure that it stayed that way. 

Some of the rooms are closed (such as the Turner galleries) but most are open. The giftshop and Djanogly café are open, and the acclaimed ‘Steve McQueen Year 3’ exhibit in the main gallery has been extended. The cloakroom ain’t gonna happen, however, so leave your giant suitcase at home and enjoy!  Oh, and the exit is now through a small door in the cafe.

Moore for the people

Did you know there’s a Henry Moore sculpture in Kennington Park? You did? Well we didn’t, so we’re here to tell you moore about it.

The sculpture is called ‘Two Piece Reclining Figure #3′ and it isn’t actually in Kennington Park, but rather nests peacefully in the Brandon Estate (the tall buildings to the back of the park). It is one of five that were cast by Moore, probably in 1961. It was purchased in 1962 by Southwark under a scheme to place artworks in post war estates called ‘The Abercrombie Plan’. The plan was surprisingly modern in hindsight; acknowledging that the psychological perception of a place isn’t just down to basic amenities, but also creative detail. We wrote about other works of art purchased by the plan a few months ago. 

For those of you not familiar with Henry Moore, he is best known for his semi abstract bronze and marble works, usually depicting women at rest. He was from Yorkshire, and it is speculated that his figures were influenced by the rolling hills of his birthplace. To us, ‘#3’ appears to be influenced by the female sculptures of the Elgin marbles, but who are we to put ideas in your head. A well known Socialist, Moore believed that art was to be enjoyed by the masses and he must have been very proud that this casting of ‘#3’ can be seen by everyone on the Estate. 

Sadly a number of pieces of public art have been stolen and in 2012 Southwark council had to take some quite expensive measures to prevent our Moore from the same sad fate. The residents of Brandon Estate also deserve credit. A bit of free culture while the museums are shut, and It’s a perfect place for a serene picnic without the worry of getting hit on the head with a non socially distanced football. 

Blitz Children

The other day we were on our permitted one hour perambulation in Vauxhall and stumbled across a quite poignant sculpture. We put it on Instagram (where we’re much more clever) and that started a small conversation about its origins. This spiked our curiosity, so we decided to step back from trying to remember what day of the week it is our hectic schedule of Zoom meetings, to undertake some research. 

Following the war there was a shift from commemorative to public sculpture as a way to lift spirits and add to public enrichment. However, after the war Lambeth were seriously short of cash. Equally skint was Hungarian artist Peter Peri, who was able to make works cheaply by means of applying moulded concrete onto wire mesh. When local authorities began commissioning artists to create works in newly constructed housing estates, he put has name forward and he was commissioned to create three works in Vauxhall and Oval. 

The sculpture in Vauxhall is called ‘Following the Leader’ and was created between 1949-1952. This moving composition depicts children holding hands in a spiral to the sky, as an homage to children killed during the blitz.  Fortunately it is Grade II listed. The other two sculptures are in Oval are of slightly lower quality but still very interesting (both below). ‘Boys Playing Football’ depicts a group of lads doing just that, kitted out in their awkward leather boots. ‘Children Playing’ depicts a mum playing ring o’roses with her children. Curiously, all three works face internal courtyards. Perhaps this testifies to Mr. Peri’s background as a socialist and champion of everyday folk. 

One of our goals as the Runoff is to get people out of the house and explore, but of course this is largely not possible at the moment. But if you find that your daily exercise is getting a tad bit monotonous, set these little gems as your destination:

Following the Leader – on Darley House, Laud St. 

Boys Playing Football – on Wareham House, Carroun St. 

Children Playing – on Horton House, Meadow Road. 

The pieces in Oval are very close to one another.

Classical Vauxhall

We don’t know a great deal about classical music, but we do know a thing or five about having a good time in Greater Kennington. If you have the time you could do a lot worse than check out the upcoming ‘Classical Vauxhall’ series. It promotes itself as embodying ‘drama and emotion of classical music in three of Vauxhall’s most quirkiest venues’. This has KR approval stamped all over it, especially when you add in that there will be a bar and a chance to meet lovely locals.

ClassicalVauxhall_Hero_2The fun kicks off on Thursday, 6 Feb. in St. Peter’s Church in Vauxhall. If you’ve never been then you should check it out anyway as it’s a beautiful great mammy of Victorian Gothicness with what we imagine are pretty fine acoustics.

Thursday 6th Feb, St. Peter’s Church – Quatuor Zaide & Fiachra Garvey

 

On Friday, 7 Feb. the classical fun continues at that playground of Georgian reclamation, Brunswick House (home of LASSCO). Now you might be thinking ‘I never really intended on spending my Friday night in a traffic roundabout in south London’ but LASSCO is worth it, if for no other reason then see the amazing if wildly unattainable objects on sale.

 

Friday 7th Feb, Brunswick House – Sean Shibe

Moving northwards and forwards, on Saturday 8th Feb the classical wave vibrates on to a KR fave, the fascinating Gardening Museum located at the side of Lambeth Palace (also Lambeth’s oldest building)

Saturday 8th Feb, Garden Museum – Adam Walker & Fiachra Garvey

 

While you might not know a great deal about classical music either, imagine the fun you can have impressing your friends with a conversation along the lines of this:

SALLY – Hey Paul, get up to anything musical this week?

PAUL – Thanks for asking Sally. Well, I figured out that the giant Daisy on ‘The Masked Singer’ is probably Charlotte Church. You?

SALLY – I went to a classical concert at Brunswick House

drops mic

CRIBS!

We know that you rely on us for riveting local matters, such as public toilets that might be turned into cocktail bars or scary garden gnomes which look like Tony Blair. However, once in a while public service beckons and we strive to join forces the larger community good.

A few years ago our Kennington friends over at the Earl of Bedlam posited the idea of a community information area in front of St. Anselm’s church to replace the one which has, quite literally, fallen off the wall in recent years. After consultation with an architect in Cleaver Sq. this evolved into more of a message board and 3D ‘monument’ taking more prominence towards the road and direct pedestrians to elevate their gaze above the isolation of their phones.  The current project is called ‘CRIB’ or ‘Community Resources Information Board’.

The initial purpose of the monument was hybrid. One was to act as an epicentre  for local people who want to meet  or impart a  message, and also to act as a permanent stone monument to celebrate our collective Kennington lives. Following a very well attended consultation last summer, the organisers decided that their plans might have been a bit ambitious in a community where resources were being cut, and this was scaled back to a message board with a stone seating area. Also in the mix was rotating art exhibits and contributions from City and Guilds art school in Kennington Park Road.

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The current proposal is the creation of a four sided stone plinth with four protected message boards and the aforementioned arts contributions from City and Guilds. The plinth will be made of a stone called Swaledale, which has preserved fossils from many millennia. This has been used previously in the very handsome new exit to Green Park station next to the Park. A current concept is that the stone will be engraved with the names who have contributed to the project, in Caroline’s words ‘from pennies to the thousands’.

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We celebrate these kinds of initatives not only as they create and perpetuate a sense of civic pride, but it also reaches out to the many people in our community who do not have access to the internet or who are not confident in using it.  If you are reading this we assume that you are probably interested in this project and how it might improve our special community. There are loads of ways to get involved in this project and the first way is to join their facebook group called ‘CRIBSKennington’. That bit doesn’t cost anything!

Peace on Earth, Goodwill to Free Pastis

Two upcoming free, fun events in Vauxhall and Walworth to sink our little SE11 (and 17 and 1) teeth into to get us into the Christmas spirits, folks! Tomorrow night (Monday) London’s Night Czar and all around good egg Amy Lame will be switching on the lights of the Vauxhall Christmas tree at around 6pm with a little help from a serenading London Gay Men’s Chorus. And you know how we get about freebies, there will be free (no way) pastel de nada (Portugese custard tarts..stick with us) and hot chocolate provided by our friends at Maderia Cafe in Vauxhall… Don’t be late!

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We often have ‘London Guilt’ about not finding time for the great bi annual events at Pullen’s Yard over in Walworth, but this year we’ll be all over it like a Berkeley Homes bulldozer with planning permission. Pullens Yard is an artistic enclave of 60 artist studios set in a Victorian cobbled mews. Over the next week they will be flinging their doors open to show what they do and will have a variety of art and objects to sell. But will there be free tarts, I ask you? If not, our friends at cool The Electric Elephant  will feed ya. Details below….

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A Little History of 20th Century Architecture in Our Realm, Part 1

Ok boys and girls, move your chairs up. We’re about to tell about the recent history of the Duchy of Cornwall Estate in two petite, pop up pieces. The first covers the development of the area in Kennington and Vauxhall from 1890 to 1914; the second covers the era between the wars. For the unaware, the Duchy is one of the titles of the Prince of Wales, which is why you can see his heraldic badge popping up around the area. We’ve included a few pics of what we are writing about the bottom, and we have more on our Instagram page.

The modern history of the Duchy Estate commenced in the 1890’s when many middle class folk were abandoning our area. Kennington had not escaped the exodus of people to greener and cleaner areas in the suburbs, and most of the housing stock had become very run down. The Duchy was concerned about the conditions in which many of our predecessors lived, and a start was made in 1893 to create modern, cleaner tenements. These first edifices were social experiments and still very much exist in Chester Way, the Duchy Arms end of Courtney St, bits of Newburn St, and Kennington Lane among other places.

In 1909, following a tour of housing estates in Germany, Stanley Adshead proposed further development of the Estate as more land became available. His idea was to draw middle class people back to our area, but the Duchy resisted as it felt it had a much more noble obligation to re-house existing tenants, mostly the old and working poor who were living in very substandard conditions. What they agreed on and what we still see today reflect a compromise. The houses on Denny Street (where you can see the German gabled influence of Ashtead’s travels), Cardigan St, and the bottom of Courtney Street were then created not for the destitute, but for older people and working families who deserved something better. A new and revolutionary kind of tenement was also erected, now called Woodstock Court, set around a central courtyard.

In designing some of the homes of this period, Ashtead was influenced by the Georgian houses in Kennington Road, which by that time were well over 100 years old. As an urban neighbourhood he appreciated the scale and feel of being in a town, as opposed to the rustic terraces inspired by Victorians like William Morris, and his small squares remain an influence. One of his last projects was St. Anselm’s Church in Kennington Cross. Work was commenced and then paused in 1914 due to the war, not to be resumed until 1933. You can see the pause in the brickwork about 16 feet on the side of the building. And this, reader, is where our story itself pauses.

In our next atom of archival architecture we will move through the first world war and up to the second, and focus on the estates in Oval and further into Vauxhall.

If you would like some more insight into the Duchy of Cornwall Estate check out this documentary on YouTube. If you have a poor attention span like us scroll to minute 41 where they talk about Kennington, Vauxhall and Oval. You might even see your own home!

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The Migration Museum

The other day we toddled over to Lambeth High Street to revisit the Migration Museum, only to discover that they are only open to special events ahead of moving. We reached out and discovered that while they aren’t technically closing, they just need a new venue, but in the meantime have a range of activities to titillate our Kennington senses.

 

Political events in recent months and years have cast a vivid light on migration and how it has shaped this country. The Museum certainly embraces the notion that migration has been beneficial to Britain, and uses examples of the real lives of immigrant groups to explain not only how they integrated into British society, but also how they incrementally changed it. This is achieved through photos, graphics, quotes, and art.

 

You might be asking, ‘why am I reading about a museum that is about to leave our area?’. After it’s deportation from our area the Museum will be living a very lively life online (especially Facebook and Twitter), with resources including links to about how to trace your lineage,  the impact of immigration in the UK, and refugees.

 

Before its departure, the Migration Museum is hosting a number of free activities (have we mentioned how much we love free stuff?), and some are kiddo friendly. We will definitely be at a few, so just wave wildly and we might spot you….But you won’t spot us as you don’t know what we look like…So just wave at everyone

A Judge’s Journey; John Dyson (the Hoover guy) in conversation with Shami Chakabarti, 31.10 18:30 – 20:00. And yes, tickets are still available!

Family History Day; a day to explore genealogy and local history (kid friendly) 2.11 10:30 – 16:30

Special Opening; A final opportunity to explore the collection, including Caribbean Takeaway and Room to Breathe. 23.11  12:00 – 18:00. This will be your last gasp before the Migration Museum flees our shores!

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