Troy: The British Museum

Troy: myth and reality is not just the title of The British Museums’ current blockbuster, but also a perfect summary of the exhibition. The show focusses on the epic tale of Helen (the most beautiful woman in the world) who was abducted by Prince Paris of Troy after the goddess Aphrodite promised her to him which sparked a ten year war – and has fascinated archaeologists, writers, artists, film-makers and the public for centuries. It is visually impressive; blue silk screens with white text replace traditional vinyl on walls or panel information, key English and Greek phrases suspend from the ceiling, and archaeological finds, sculpture, paintings, original manuscripts, photography and a poster of the 2004 film starring Brad Pitt all vye for attention. The show explores the archaeological evidence from a hill site excavated in the 19th century and from the 1870’s excavations by German archaeologist Heinrich Schliemann, which geographically pinpoint Troy in what is now north-west Turkey and believed to be a real rather than mythical place. Depictions on classical pottery dating back to 400 BC, descriptions in Homer and Ovid’s poetry, a stunning marble sculpture of the wounded Achilles by Filippo Albacini in 1825, and re-tellings of the story in medieval paintings all show the heroes in battle, sorrow and downtime, making them multidimensional and real. There is a focus on the Greek hero Odysseus and his adventures trying to get home at the end of the war, made famous in Homer’s epic poem The Odyssey. It also examines the frequently overlooked women, from Helen (who sparked the war), to Hecuba (Queen of Troy), Aphrodite (goddess of love whose meddling led to the war), Penelope (wife of Odysseus), the Sirens (nymphs who tried to lure sailors to shipwreck through their singing) and many others, who like their male counterparts have captivated audiences. The show closes with modern takes on Troy, with a photograph by Eleanor Antin inspired by Rubens’ Judgement of Paris, and a light installation based on Achilles’ shield by Spencer Finch.

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Gregory Crewdson: The Photographers’ Gallery

‘Cathedral of the Pines’ conjures thoughts of religious buildings carved from pine trees, but instead is name of a forest trail in the American rural town of Beckett, Massachusetts and the inspiration behind Gregory Crewdson’s latest body of work currently on display at The Photographers’ Gallery. It is the first time the Gallery has dedicated all three floors to one artist and contains all 31 large-scale images from this series, allowing visitors to view the entire body of work rather than just selected pieces. At first glance the exhibition as a whole can feel a little repetitive; with many images featuring bleak landscape scenes or simple domestic settings, however on closer inspection you begin to appreciate the detail and atmosphere created within each one. These details are often a little sinister; footsteps in the ground, an unexpected reflection in a mirror or window pane, or items that seem out of place in their environment. The people and settings in each frame also contradict each other, with figures standing still but naked in the snow, or on a riverbank, or as a couple in the back of a truck within a dense forest, making you question the narrative that has led up to each scene or ‘moment’ captured – and indeed what might come next. Credwson’s photography is famously likened to film as he creates cinematic-style sets and hires actors or models to pose within these sets, however this series recalls film in a more climatic capacity creating visual suspense in much the same way as directors Alfred Hitchcock or David Lynch. Unusually this series includes natives to Beckett as well as some of Crwedsons friends and family rather than actors or models, and he describes it as his most personal project to date. On display until 8th October it’s certainly worth escaping the crowds of Oxford Street and spending some time exploring the oddly calm dystopia of this exhibition!

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Edouardo Paolozzi: Whitechapel Gallery

Eduardo Paolozzi is all over London; from the mosaics at Tottenham Court Road tube station to the sculpted head outside The Design Museum, colossal sculptures outside The British Library and on Royal Victoria Dock, and abstract pieces in Kew Gardens and Pimlico amongst others. It seems almost overdue that a London Gallery should dedicate an exhibition to the irreverent artists’ works – and Whitechapel Gallery have filled that void collating over 250 of Paolozzi’s artworks in their current retrospective. The ground floor focusses on his early career in London and Paris and his experimentation with various mediums as industrial bronze sculptures are displayed alongside pop-art inspired collages, screen-prints, tapestries and textiles, and moving film. Despite this diversity constant themes do emerge, evident in his fascination with pattern, layering and texture – and as the ground floor galleries come to an end, an inimitable Paolozzian style full of graphic prints and geometric designs emerges. His evolution as an artist is focussed on in the upper floor galleries which explore later developmental pieces in chrome and a playfulness with reflective surfaces and mirrors. It then goes on to draw out his obsession with the creative process itself, and it is interesting to view similar shapes through both two dimensional sketches and prints and three dimensional sculptures sharing the same space. Hints of the artist as a person – and indeed as a rebel – are also present in ‘Avant Garde?’ where each letter of the term is filled with a colourful cartoon figure, and ‘Jeepers Creepers’ which pokes fun at artistic terminology by featuring a row of plaster clowns each labelled with a different term. Iconic pieces mix with lesser known experiments, and the exhibition closes with the original sketches for the infamous tube mosaics. Get over to east London before 14^th May to catch this exhibition and appreciate Paolozzi’s fun, colourful and incredibly innovative contributions to 20^th century art!

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Focal Point Gallery: Southend-on-Sea

Anticipating a busy September, I made the wise decision to extend my August bank holiday by taking an extra days’ annual leave yesterday. The proverbial cherry on the top was waking up to glorious sunshine, jumping on a train at Fenchurch Street, and forty-five minutes later arriving on the Essex coast at Leigh-on-Sea. With sun blazing, a still and glistening sea, cobbled streets through the old town with traditional cockles, whelks and eels being sold, I floated my way down the promenade to Southend and its Focal Point Gallery. The contemporary gallery currently has two main exhibitions on display; ‘#75’ and ‘CANWEYE{ }’ by Frances Scott. In an increasingly digital age ‘#75’ refreshingly champions the gallery’s own printed material produced between 2009 – 2016 showcasing posters and tea-towels along one wall alongside three display cabinets brimming with printed artefacts. The gallery also aims to continue producing one unique printed accompaniment to each exhibition, as they have with Dan Fox’s four page essay printed in nine different colours which visitors can take away with them. A corridor decorated with brightly coloured neon posters offering a tongue-in-cheek take on Arts Council demographics (including categories like ‘Bedroom DJ’s’ and ‘Time-Poor Dreamers’) leads you to the next gallery space. As you open the door to a darkened room with wooden scaffolding, a single picture draws you to the far end of the room… and this ink drawing by Derek Jarman entitled ‘Plague Street’ is the impetus for Frances Scott’s video installation. The film is played in a slightly uncomfortable setting and jumps between scenes filmed in Canvey Island (Essex) and Venice (Italy) – its constant shifting of location, use of both analogue and digital techniques as well as archival material make it deliberately difficult to settle as a visitor, whilst still managing to be an enjoyable and interesting experience. I’d certainly advise a visit before the Summer season finishes on 2^nd October!

A snapshot of ‘#75’ showcasing the gallery’s printed matter

Some of the posters on display within the ‘#75’ exhibition

A percentage breakdown of Southend’s audiences which have been used to decorate the walls in neon green, pink, yellow and orange posters!

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Absent: Shoreditch Town Hall

I am deeply suspicious of immersive theatrical experiences and have a palpable dislike of forced audience participation, so had my concerns about attending Dreamthinkspeak’s new production at Shoreditch Town Hall. Inspired by The Duchess of Argyll’s residence at a London hotel for over a decade until her eviction in the 1980’s, ‘Absent’ uses the Town Hall’s labyrinthine basement as the set for a journey “guests” can enjoy at their own pace. Upon arrival, I immediately bought into the deception of it being a real hotel, complete with reception and check-in area, functioning bar, and doormen leading you down to the basement where the hotel façade continues. With no idea what to expect when entering the first bedroom, black and white films of a glamorous dinner and a two-way mirror allowing you to see into the next bedroom where a drunk and disorientated older woman is packing her suitcase, ease you into the story. Moving down the corridor, you can look into each of the hotel bedrooms via keyholes and peepholes to view the same woman at different life stages; an innocent child, elegant young lady, and lonely older woman. Influences range from Lewis Caroll’s Alice in Wonderland, to C.S Lewis’ Narnia and Orwell’s 1984 – and the integration of film, installation, eerie soundtrack and detailed miniatures of the rooms you are standing in, make navigating your way through the building intriguing and utterly absorbing. The maze-like basement constantly alters in scale, and oscillates between the real (actual rooms) and the imaginary (film, installation, replica miniatures) making you feel as though you are stepping into scenes you have been watching or moments from the past. As you exit the final room a doorman is required to inform you that the experience is over, testament to its authenticity and to how convincing an illusion has been created.

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