After exploring the southern medina and its breath-taking palaces and tombs on my first day, and the museums, galleries and souks of the northern medina on my second day, I hesitantly left the old town and ventured into the New City on day three. The streets are wider, the architecture blander, and a sudden sense of calm exudes – as traffic lights and order replace humans, mopeds, bicycles, donkeys and carts vying for space in the narrow hubbub of the medina. Not far from where the designer owned a home in the city, you’ll find the Musee Yves Saint Laurent Marrakesh. Only in existence since 2017, the museum is housed in a stunning purpose-built terracotta brick and pink stone space commissioned by French architects Studio KO who echoed the couturiers fascination with slight lines and curves. The vast 4,000 square metre space comprises the Yves Saint Laurent Hall, a temporary exhibition space, a gallery space, an auditorium, library, bookshop and serene café and outdoor terrace. The main hall displays fifty pieces from the archive collection (spanning 1962 to 2002) including the Piet Mondrian inspired dress, the infamous ‘le smoking’ jacket, the pea coat, and several garments where the Moroccan influence and its vibrant colours, nature and heritage shine through, most evident in the bougainvillea cape and Berber inspired dresses. The temporary exhibition space compliments the main hall showcasing sculptural dresses created by Noureddine Amir, suspended against a black background and mirrored walls. The auditorium helps enliven these clothes further by displaying a montage of the designer at work, YSL catwalk shows and photo shoots, as well as past controversy including Yves Saint Laurent himself posing naked for the labels’ debut aftershave in 1971! The gallery space contains a series of photographs of Catherine Deneuve modelling a YSL collection utilising Marrakesh’s carpet shops, spice souks, decorative tiling and bustling main square as a sublime backdrop, and reinforcing the affiliation between the designer and this city.
I won’t lie, I was far from enthused by the prospect of spending hours inside The National Technical Museum in Prague, but was outvoted by the males on our festive trip to the Czech capital. The National Museum, numerous art galleries, monasteries and libraries brimming with antique books were far higher on my agenda, but was pleasantly surprised and impressed. The museum is housed in an enormous concrete and brick building adjacent to Letna Park with views over the Vlatva river, and I was immediately won over by the gruff looking but utterly charming old(er) man who sold us our tickets and took the time to share much information about the museum with us! The collection is vast; comprising transport, architecture and civil engineering, printing, mining, astronomy, horology, photography and household appliances across six floors. The stand-out gallery is dedicated to transport and takes up the entire back of the building with a triple height exhibition hall filled with bicycles, motorbikes, cars, trains, planes suspended from the ceiling, and even a hot air-balloon charting the history of developments in Czech transportation. With fourteen large permanent displays as well as the temporary exhibition and only two hours allotted for our visit, we decided to focus on printing and architecture. The printing gallery mimics an antiquated print shop with typesetting blocks, printing presses from various periods, newspaper and bookbinding machinery, and outlines the role print material played in developing the country’s national consciousness. Similarly the architecture gallery documents the most significant buildings erected across Czechoslovakia over the last century via original models, plans, sketches, photographs of their construction and replicas – and I enjoyed recognising and learning more about the civic landmarks I had already visited or walked past in the city. Despite my reservations, this museum challenged my preconceptions and highlighted how important technical innovations are in all our lives in myriad ways.
Nestled between the Old Town Square and Vlatva River you’ll discover Josehov, Prague’s Jewish quarter. Turning off a street brimming with designer shops and boutiques, the cobbles are suddenly decorated with the Star of David – and six synagogues, the Jewish Town Hall and one of the oldest Jewish cemeteries in Europe all vie for space within a few streets. My first stop was the Spanish Synagogue, a Moorish revival style building which opened in 1867 with a double height gilded main hall surrounded by balconies and stained glass windows. The exhibition inside tells the story of Jews in Czechoslovakia since the emancipation under Emperor Joseph II through to the traumatic events of the 20th century. Five minutes’ walk away is Pinkas Synagogue, devoid of any interior decoration and instead the walls are covered in 78,000 names written in black or red ink representing Czech victims of the Holocaust. This powerful memorial was designed by the painters Vaclav Bostik and Jiri John and opened in 1960 but was closed eight years later during the Soviet occupation of the country, and only reopened after the fall of Communism in 1998. Behind this synagogue is the Old Jewish Cemetery, an apt location to memorialise the pre-twentieth century Jewish community with graves dating from 1400’s until 1768. A path leads you around the tomb stones to the Ceremonial building which outlines daily and special Jewish rituals and practices through a basic but informative display. My final visit was to Maisel Synagogue, a neo-gothic style building which resembled a church more than a traditional synagogue. Whilst it was interesting to witness such architectural variation in close proximity, their singular usage as museums felt a little unnatural and I was sad not to see a practising community within the synagogues, and ultimately the exhibition content began to feel a little repetitive across all five sites.
Having attempted to visit the Musée national Picasso-Paris on a couple of occasions but defeated by queues, it was third time lucky for me on a drizzly Saturday afternoon pottering around Le Marais! The museum is in the old Hotel Sale building dating back to the 17th century and listed by The Historic Monuments department. It opened as a museum in 1985 following extensive restoration, creating stunning modern gallery spaces whilst being sympathetic to the original architectural features and surviving furnishings. The collection comprises over 5,000 paintings, sculptures, ceramics, prints, engravings, illustrated books as well as an archive of newspaper articles and personal documents associated with the Spanish artist. The vast majority of the collection was acquired through two large donations from Picasso’s heirs, and is currently host to an additional body of work on loan from the Pompidou Centre as part of their 40th anniversary celebrations – offering a full spectrum of Picasso’s myriad styles and techniques. The lead exhibition focusses on the year 1932 during which Picasso dated every painting or sculpture he created, highlighting the strong biographical element in his work. This was also an interesting year with regards the artists’ personal life as many of the portraits painted depict variations of just two women; Dora Marr and Marie-Thérèse Walter, the former a photographer and surrealist artist who was Picasso’s mistress leading to the demise of his marriage to Russian ballerina Olga Khokhlova, and the latter a seventeen year old additional love interest of the forty-five year old artist! The variable and often contrasting portrayals of these two woman is a good analogy for the multifarious nature of Picasso as an artist, embracing innumerable different styles throughout his career. Ultimately that was what I took away from my visit to this museum – that Picasso was far more than the surrealist painter I was familiar with, but a far more complex and talented creator unafraid to provoke.
I was a Novigrad newcomer until last month (and embarrassingly must confess to thinking it was a town in Russia rather than Croatia) however was utterly charmed by the Istrian town. Old Venetian city walls from the 13th century enclose a space littered with historic bell-towers, churches, a colourful harbour, and narrow streets decorated with bright umbrellas and other artworks! I was also fortunate enough to be visiting during the 8th International Festival of Visual Arts, breathing additional life and activity into this small but progressive town. This years’ theme was ‘Let there be… bicycle’ to celebrate the 200th anniversary of the invention of bikes and incorporated modern and contemporary art, a photography exhibition, performances, film screenings, workshops and other activities emanating from the Museum Lapidarium – the nucleus and organiser of the festival. Outside the museum you were greeted by a large-scale installation by Italian artist Marco Milia, created from interconnected blue plastic circles. Its site-specific nature, lack of clear boundaries and circular rhythms forced viewers to interact with the space differently; kids explored, locals and tourists were absorbed, and the sun and wind played with it throughout each day and evening. The museum building itself was animated with sculptures of cyclists hunched over their bikes created by Croatian artist Vasko Lipovac, Braco Dimitrijevic’s bicycle themed artwork ‘Tryptichos Post Historicus’ decorated a nearby window, and a selection of vintage photographs of cyclists was displayed in the Gallery around the corner. As night fell, festival activity stepped up a gear as films were projected in the main square, performance art took place in small parks and on street corners, and visitors were able to both watch or help with a workshop led by London’s Bamboo Bicycle Club to build a rideable bike out of bamboo from start to finish in just three days. With both a permanent archaeological collection and changing programme of contemporary art exhibitions, I left eager to return to Novigrad and see what future exhibitions hold.
Pink Floyd have sold over 250 million records worldwide since they were founded in 1965, so it only makes sense for such an epic band be recognised with an exhibition on a truly epic scale. The V&A have done just that with the current ‘Their Mortal Remains’ retrospective of the band, presenting an enormous archive of material, huge displays and large-scale installations, all accompanied by a legendary soundtrack! The exhibition takes you on a chronological journey from sixties London through to the present day via promotional posters and tickets, press images, backstage photographs, archived interviews and footage, band members’ original instruments and other ephemera. That said, there is a distinct focus on the 1970’s – arguably the bands’ creative apex – witnessing the release of ‘The Dark Side of the Moon’, ‘Wish You Were Here’, ‘Animals’ and ‘The Wall’ all in a six year period between 1973 and 1979. This period of ingenuity is recognised in the exhibition with full-scale reconstructions of Battersea Power Station accompanied by a floating pig and other inflatables commissioned by the band to accompany their tours of this era, as well as a huge reconstruction of ‘the wall’. The show then moves on to explore more contemporary incarnations; the 1980’s ‘Final Cut, 1990’s ‘Division Bell’ and final 2012 album ‘Endless River’ – and closes with a gig projected on all four walls of one enormous gallery space. As well as celebrating the music, it highlights the influence of other artistic mediums; from David Hockney and illustrator Peter Blake to animators Gerald Scarfe and Ian Eames. Moreover it emphasises the bands’ ambition to constantly challenge and create more imaginative live shows, as well as their collaboration with graphic designers Hipgnosis to create some of the most iconic album covers of all time. You’ll need to dedicate a good few hours to take the whole exhibition in, but I’d suggest making the time this summer before it closes in October.
Whilst googling, flipping through various guidebooks, websites and tourist information portals ahead of my festive trip to Budapest, the Museum of Applied Arts (and more specifically its stunning glass-roofed main hall) constantly stood out. Constructed in the 1890’s as a masterpiece of Hungarian art nouveau the building was purpose built to display and promote the country’s crafts and skills in an optimum setting; mixing eastern oriental influences with western vernacular architecture, alongside traditional Hungarian green and yellow ornamental tiling, and a huge exterior dome. Having walked along the river Danube, I approached the museum from the rear and was initially fearful that all my preparatory reading had been in vain and it had closed down! From the exterior the museum looked forlorn and almost derelict, and although its’ appearance improved a little at the main entrance it was far from the show-piece I was expecting. Once inside, the double-floor oriental arcade and glass-roofed hall charm, and the permanent collection of gold and silverware, aristocratic clothing, costume jewellery, furniture, ceramics, artworks and weapons are pleasant but not especially memorable. The two temporary exhibitions ‘Breuer – at Home Again’ and ‘In the Mood for Colours’ feel very modern, fresh and almost out of place in an otherwise tired and dated museum. The Breuer comprising strong examples of the Hungarian architect and furniture designers’ creations, and the Colour exhibition cleverly playing with perception by arranging the collection by dominant colour rather than historic period or style. The show is also accompanied by the ColourMirror project, an interactive installation which digitally reflects visitors’ clothes matching them to an object within the museum collection – which certainly engaged me on a search to find my ‘match’ within the collection! Despite a saddening lack of investment, it was heartening to see plans for refurbishment and redevelopment and I hope it is reformed into the grand building it once was.
This year (technically last year) I spent Christmas in Budapest; a city I’ve been keen to visit for many years and having now been find it difficult to fully make sense of. Straddling the Danube, it was brimming with late nineteenth century architecture (both original and recreated), art-deco and art-nouveau (again both original and recreated!), littered with festive markets and the scent of mulled alcohol, and even snow on Christmas eve. Amongst all of this seasonal cheer I visited the less festive House of Terror which helped make sense of this interesting city and its need to restore, rebuild, and indeed remember. The museum focuses on the brutality faced by Hungarians under both the Nazi and Soviet occupations, and also acts as a monument to those who were imprisoned, tortured or killed within the building itself. You are greeted by a tank in an atrium three floors high with black and silver portraits of victims displayed floor to ceiling. The rooms leading away from this atrium outline the fear, chaos and inescapable presence of these regimes by illustrating the propaganda, secret police, uniforms, religious attacks, forced-labour camps and gulags of both the Arrow Cross Party (Hungarian Nazis) and Soviets, as well as a mock polling station when there was a one-party “democracy” in place, and numerous examples of Hungarian resistance. A lift slowly moves visitors down to the basement, at the back of which a plasma screen shows a documentary revealing a variety of execution methods in a manner devoid of emotion. Once in the basement you are faced with a series of cells where prisoners were kept in a cruel, damp, confined conditions – one cell simply has a noose in it. Situated on a main boulevard, this museum provides a bleak and powerful image of life during that period and the horrors that openly took place within the heart of the city.
Raven Row is undoubtedly one of my favourite galleries, located in east London near Spitalfields Market in two adjoining eighteenth century townhouses on Artillery Lane (aptly known as Raven Row until 1895). It is eccentric without being pretentious, large enough to get lost in but still feels intimate, and always host to something curious. Its current exhibition ‘The Ulm Model’ is no different, educating visitors about the lesser known German school of design which only operated for a short period between 1953 and 1968. This exhibition was exactly what I wanted from my Sunday afternoon… a relaxed cultural fix without feeling protracted or contrived. The curation is simple and uncluttered, and specially designed display structures showcase items ranging from weighing machines to crockery, electric razors, traffic lights and petrol cans. As well as the objects themselves, the exhibition also includes drawings, models and prototypes created by the schools’ students as well as sections dedicated to some of their more progressive work for corporate clients, namely Braun and Lutfhansa. The key pieces that captured my attention include Dieter Raffler & Peter Raacke’s multi coloured plastic shell suitcases, Hans Roericht’s TC 100 stacking set of teapots, cups and saucers, as well as Hans Gugelot & Dieter Ram’s record player designed for Braun. The original wooden floorboards, fireplaces and other period features of the building juxtapose against the modernist design of these objects nicely, and exploring the various rooms and corridors of this gallery unsure what you might find around the next corner adds another element. Whether you are a design geek or neophyte, I’d suggest taking advantage of this exhibition and paying a visit before mid December while these German works’ are collectively on display in London.
I feel I’ve been a little slow on the uptake with summer exhibitions… but so pleased I got to see ‘Found’ at The Foundling Museum last week before it closed on 4th September. Curated by Cornelia Parker, the list of over sixty participating artists’ reads like a who’s who of the contemporary art world including Phyllida Barlow, Mark Wallinger, Richard Wilson, Jeremy Deller, Mona Hatoum, Marin Creed and Gavin Turk amongst others. Inspired by the 18th century tokens mothers left with their babies as a means of identification at the original Foundling Hospital established by the philanthropist Thomas Coram in 1739, all of the artworks within this exhibition are created from found objects kept for their significance. Things get off to a strong start as a trumpeter dressed in typically brightly coloured fabrics by Yinka Shonibare greets visitors in the foyer. A temporary exhibition space in the basement contains over thirty pieces, whilst another fifty are dotted throughout the rest of the building intertwined with the permanent collection and period rooms – and this is where much of the success and indeed joy of the exhibition lies! Moving up the central spiral-stairwell a contemporary painting by Rose Wylie is hung alongside old masters, in the grand Court Room with Rocco ceilings and Hogarth paintings you’ll find Gavin Turks ‘Nomad’ installation of a dirty sleeping bag positioned to echo the shape of a human form sleeping within it, and a small iron sculpture by Anthony Gormley of his own child as a baby is displayed on the floor in a corridor! Despite strong competition from all the artists, I feel the prize for best ‘found’ item should go to Cornelia Parker herself who rescued Jimi Hendrix’s staircase from Handel/Hendrix House in London’s Brook Street following its restoration – and is aptly on display in the basement for this exhibition.