Kensington Palace, London W8. Part 1. Victoria Revealed & Diana, her fashion story.

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Kensington Palace has been a place of residence of the British Royal family since 1689. It was bought as a completed building by William and Mary when they ascended to the throne and it has been expended and improved since, by both Christopher Wren and by Nicholas Hawksmoor. Part of the palace is still used as living accommodation by the Dukes and Duchesses of Cambridge and Sussex.

Those parts not being lived in are open to the public. Currently they contain four exhibitions, one ticket allows entry to all four. Entrance to the Palace gardens, including the attractive sunken gardens is free and these are certainly worth the time it takes to walk round them on days when the weather is clement.

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Victoria Revealed is an exhibition about the life of Queen Victoria. She was born in Kensington Palace and lived here until she became monarch in 1837. It consists of eight rooms detailing her life in, mainly chronological, order. It does contain some interesting personal items such as the dolls with which she played as a child. The portrait of her at the time of her coronation, shows why she was considered a beauty in her youth.

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It has the uniform that her husband Albert wore on their wedding day. This has embroidered messages, such as “dearly loved” and “Oh my Angel Albert”, on the cuffs collar and pockets. It also has a garter, tied visibly, just below the left knee. It also has the gilt bassinet which held many of her nine children, as babies.

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The rooms are relatively sparsely decorated, but have some nice busts and a few interesting paintings, including a couple of the Great Exhibition and the Crystal Palace, in which it took place. The Great Exhibition was opened in in 1851 by Queen Victoria herself. In the gardens of the palace, stands “The Queen Victoria Statue” designed, in marble, by her own daughter Louise, who was a celebrated artist of the time.

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The presentation contains a moving memorial to Albert. Victoria was strongly affected by his death, she wore mourning clothes and withdrew from public life for many years after.  Victoria Revealed is a fascinating show, the items on display are sympathetically exhibited and give a nice insight into her personal life.

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Also on the first floor is “Diana, her fashion story”. This is a collection of Princess Diana’s most famous suits and dresses. There are about 20 of her outfits on show here, along with notes about the designers and details of the occasions on which she wore them. They are interesting in that they mark the fashions of the time as well as well as being beautifully designed. It is surprising how many of them are recognizable, it seems that time has proven that Diana really was a fashion icon of the 1980s and 90s.

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Now The Hero, Swansea International Festival.

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Swansea International Festival runs from the 22nd September to the 7th October this year. It has many interesting events, among them a stand up performance by Rob Bryden and a production of Gilbert and Sullivan’s “Iolanthe”.

The centrepiece of the Festival is a Welsh Commission for 14-18NOW called “Now The Hero” 14-18NOW have collaborated with various artists to make some very compelling pieces over the past few years, related to the centenary of the First World War. A particularly thought provoking event earlier this year was “Fly by Night” where thousands of pigeons with LED lights were released over the Thames at sunset.

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“Now The Hero” is their final piece and it looks like another winner. It is an immersive musical/theatrical parade, starting in Swansea Bay and finishing with a choir recital in Brangwyn Hall in the city. It tells the story of three Welsh warriors from different time periods. There is an ancient Celtic soldier, a First World War conscript and a contemporary service man. There is also a voice for peace, with Eddie Ladd voicing quotes from protestors at Greenham Common’s women’s camp.

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The music is a choral requiem written by Owen Morgan Roberts and Owen Sheers. It is based on a traditional old Welsh poem “Y Gododdin” and will be performed by Cambridge choir, Polyphony. Brangwyn Hall where the event finishes contains “The British Empire Panels” a work originally commissioned to be hung in the House of Lords but rejected by them as too colourful.  It was notoriously described at the time by Lord Crawford as “all tits and bananas”, however almost a hundred years later it is regarded as a powerful commemoration of Welsh participation in the First World War.

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This event will transform Swansea over the course of five days  on 25th to 29th September and it looks as though it will be a spectacular highlight of the Swansea International Festival.

Other performances at the Festival are The BBC National Orchestra with Karl Jenkins and The Welsh National Opera doing “Rhondda Rips it Up” with Lesley Garrett and Madeline Shaw. So if you are looking for some art and culture at the end of September, Swansea is the place to be!

Fly By Night, Crossness Pumping Station, Thamesmead, London SE2

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Duke Riley’s Fly by Night is an art event happening over three midsummer evenings in Thamesmead. It is part of LIFT 2018, which seems to get better each year. The installation itself consists of releasing 1500, racing and homing, pigeons, which have been fitted with LED leg tags, over the Thames at sunset.

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The venue for this event is a little way out of Central London. Crossness Pumping Station is a Victorian sewage treatment plant in East Thamesmead and the viewing area is in the grounds of its beautiful Grade I listed building. Thoughtfully, the organisers have kept the building open late and a trip around the accompanying exhibition “The Big Stink” is a diverting start to the evening as we wait for the sun to set.

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The location itself is attractive, in an unconventional way, factories and wind turbines face us on the opposite shore. On a good summer evening, watching the sun slowly sink into the urban skyline over the river has beauty of its own, even if, it is not one of the first places you would think to come. The anticipation rises as the sun sinks and slowly the first pigeons rise from their hotel/loft into the sky. They circle the area in small flocks, rising and swooping in the dying light. Gradually, as the evening closes in, the pigeons begin to gather flickering lights as the LEDs start to win the battle over sunlight. Slowly, and almost imperceptibly, over the course of the thirty minute flight, the pigeons fade into the night and all we see are the soaring and diving leg tags making patterns in the night sky.

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Beautiful and surprisingly thought provoking.

 

Phobiarama, LIFT 2018, West Handyside Canopy, Kings Cross, London.

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LIFT 2018 is a festival of international performance, running at various venues around London from late May until early July. There is a wide choice of shows available and a huge variety of styles on show. There is a children’s show by renowned theatrical company Punchdrunk, where adults will not be granted admittance unless accompanied by a child. There is a South Korean Opera about the Trojan wars in Greece and there is even a piece of performance art that involves 1500 pigeons, with LED lit leg-rings, flying above the Thames.

Phobiarama is billed as an immersive theatre experience. This is certainly true, and I don’t wish to give too much away, as being unaware of what is about to happen adds to the thrill of the show. I would best describe it as a 21st century ghost ride with real actors, strobe lights and political overtones. Dries Verhoeven is a visual artist who has updated a 20th Century fairground ride into a paranoid, threatening 21st Century journey through political and popular culture. This show travels the world but each one is site specific, and this one has elements that apply particularly to London. I can say that it gives a feeling of drifting through a waking nightmare and I was reminded of film warnings that say “This show contains some scenes of mild horror”.

You are disorientated from entering the space in pitch blackness and the anxiety gradually racks up throughout the 45 minute performance, as shadows in the background slowly become more real, with television newsreels reminding you of events that have happened in London over the past years. I guess that some people do not like to feel frightened, however lightly, so this show will not be for everyone, but I enjoyed the feelings of mild paranoia that I was given and I found it interesting to think about why some of the scenes made me feel uncomfortable.

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The opportunity to experience running away backwards from an evil clown, while Nigel Farage rants on about the iniquity of our immigration system, is one that does not occur regularly – and although this was a memorable part of the show, it was by no means the most disquieting, so if you think that this is something you might enjoy, you need to take the chance now, while it is here.

I would suggest that you should not go if you find strobe lighting a risk or if you suffer from coulrophobia. I have to say that I thought that this was a really interesting experience.  I hope that Dries Verhoeven brings other events to London and if he does, I fully intend to visit them.

 

Rodin and the Art of Ancient Greece, British Museum, London

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Rodin and the Art of Ancient Greece is a fantastic exhibition, in terms of both content and context. The Parthenon marbles, which used to be known as the Elgin Marbles, are always in the British museum collection but exhibiting them with the Rodin sculptures, for which they provided inspiration, adds a frame of reference to both.

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We see the timelessness in the Greek pieces where the damage of 2500 years only adds to their beauty.  In Rodin’s sculptures, the incompletion is intentional, but the pieces are no less pleasing because of that.  The show cleverly depicts both sets of pieces as individual parts of a larger work. Elgin removed decorations from the Parthenon in Athens and Rodin’s sculptures are part of his, never fully finished, Gates of Hell. It is very informative to see the representation of the wall near each piece which shows exactly whereabouts in the wall it came from.

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The room is big and impact on entry is impressive. There is a large collection of Rodin’s works here, mostly on loan from Musee Rodin in Paris. We have Athena (Pallas), The Kiss, The Thinker, The Walking Man, The Age of Bronze, even The Burghers of Calais has been brought in from Victoria Tower Gardens. The Parthenon Marbles are interspersed among them and seeing, for example, the two intertwined headless Goddesses in the background of  The Athena with the Parthenon in her hair, adds to the attraction of both.

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The ancient Greeks, Phaedias mostly here, tended to use an idealised form of the body in sculpture and frieze, whereas Rodin veered more toward realism in his, but this show brings attention to the association between the piece of art and its inspiration. This is its real success.

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The British Museum holds one of the greatest art collections in the world, but surprisingly, it does not have any Rodin in its permanent collection, so if you did need an extra excuse to visit, this is it. Also, for the first time, photography was allowed in this exhibition.

The Wallace Collection, Manchester Square, London WC1.

 

Franz Hals, the Laughing Cavalier
The Laughing Cavalier

 

The Wallace Collection is a must see museum/gallery if you come to London. The items on show were bequeathed to the nation in the late 19th Century and have been on display here since 1900.

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Van Dyck, The Shepherd Paris

The number and quality of the Old Masters from the 15th to the 19th century is amazing. It has some of the finest examples of 18th century French furniture in existence. There is also a rich assemblage of porcelain, sculpture and royal amour in the collection. One of the more unusual pieces is a particularly ornate cannon.

 

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Many of the pieces were bought during the sales of art following the French revolution, which is why the collection is so strong in 18th Century French art. Such good examples of the Louis XV cabinets and marquetry cannot be seen anywhere else in the world.

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A condition of the bequest was that none of the pieces ever left the collection, even to go out on loan. So if you ever wish to see, say, “The Laughing Cavalier” or Canaletto’s “View of the Grand Canal” you have to come here.

 

Canaletto, the Grand Canal
Canaletto, The Grand Canal

 

It is astounding to discover that it is free to visit this collection, although they do ask for a donation. It is also surprisingly quiet, compared to the other, bigger museums and galleries in London. This is presumably because it is not in the main exhibition area of town, although you could argue that, situated between Oxford Street, Baker Street and close to Selfridges, it is even more central than those in South Kensington.

 

Rembrandt, Susanna van Collen and Anna
Rembrandt, Susanna Van Collen and her daughter Anna

 

Notable among the Old Masters in the collection are 5 Rembrandt, 4 J. W. Turner, 8 Canaletto, 2 Titian, 12 Reynold, 5 Cuyp, 2 Gainsborough….. the list goes on, it is an amazingly rich and full list. There is even a wonderful portrait of Queen Victoria from 1837, when she was newly ascended to the throne.

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The Wallace Collection should not be missed when visiting London. Bring your friends when you visit, and you will surprise them with both the quantity and the quality of the art here. Given how quiet it tends to be, even in the summer, I am going to count this as a hidden gem, and I recommend it heartily.

Queer British Art, Tate Britain, Millbank, London SW1

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Queer British Art at the Tate is a fascinating exhibition, it is more of a history of homosexuality in Britain told through artistic pieces. Some of the exhibits aren’t very queer, until you know their story, and some of the exhibits wouldn’t be  artistic in themselves, until they are included in this exhibition.

Is the door of Oscar Wilde’s cell in Reading Gaol art? Perhaps not, but it does fit well in this show. Is Gluck’s paining of a vase of lilac roses queer? Not unless you are aware it commemorates the beginning of her affair with the florist, Constance Spry. This is one of those shows where the notes accompanying the piece are often equally as important as the piece itself. There is a box containing 200 military buttons each of which represents an illegal sexual liaison with a man who was wearing it.

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There are many fabulous pieces here including four early Hockney’s and two Francis Bacon’s. There is a glorious photo of Quentin Crisp as a young man, he was really only famous in later life and this picture shows how beautiful he was. This exhibition is full of wonderful bits of British Queer history, some of which one will never have the opportunity to see again. It has the actual card that the Marquis of Queensbury left for Oscar Wilde calling him a “posing sodomite”. This led to the court case that had him incarcerated in Reading Gaol.

There are eight rooms here, packed with interesting items, so make sure that you leave yourself time to take it all in. It is rare that this tight man would go twice to a paid exhibition, but I  fully intend to return before it closes on the 1st of October.

Bathing 1911 by Duncan Grant 1885-1978

I think you should look upon this as a historical exhibition rather than an art exhibition, but either way, I recommend it highly.