One of the pleasures of travelling, for me, is being able to pop in to galleries, museums and markets and try to get a feel for the local arts’ culture. Whilst the world may, acccording to some sources, be shrinking and art works also travel more easily these days, it is rare that I visit somewhere and haven’t seen something that catches my eye that is local to the region.
Stopping off in Singapore en route to my niece’s wedding in New Zealand and visiting a photographer cousin – see his captivating photographs at http://www.andywlangton.com – I roamed the city for the very first time. I was curious as to what the arts scene would be like there and whether a short stopover would allow me to see much. As it worked out I can’t pretend to have got my head around the local arts scene – like Loch Ness it definitely would require a more in-depth search – as it certainly doesn’t stand out at you screaming, unlike some cities. However following a beautiful morning visit to the acclaimed Botnical Gardens I took a bus which passed all the shopping malls – no, not quite my kind of thing – and led me directly to the Singapore Art Museum (SAM). Museums that require an entrance fee just to get in do make me think twice usually – spoilt, me? – but following a much needed cool refreshment at the calm, adjoining air-conditioned cafe I decided to take the plunge and pay my dollars.
The museum is housed in a former De La Salle Brothers’ Catholic boys’ school, the St. Joseph’s Institution, a building completed in 1867 and now a Singapore National Monument. Whilst still retaining some of the structure of the original building and the ‘feel’ of a college it has a likeable modern-meets-the-past quality. Viewing different rooms requires some sense of direction but, once found, the many rooms held some excellent work. Boo Junfeng’s video projection, Mirrors 2013, had me captivated and left me questionning my own obsessive reaction to the piece, Ryf Zaini’s technologically interactive installation, Unveil the curtain to the window with no ledge, set off light bulbs in my own head (both showing until Sept. 2013 as part of President’s Young Talents), and Aisha Khalid’s Appear As You Are, Be As You Appear, a fabric and steel needles embroidered velvet jacket, in The Collector’s Show: Weight of History, was highly thought-provoking, art not fashion. The individual artists reminded me how art can reflect local, regional and universal culture, and the work was presented in an engaging way.
The Panorama: Recent Art from Contemporary Asia and President’s Young Talents exhibitions were both fascinating and, in addition, I was also suprised to come across an arts exhibition by the Singapore Association for Mental Health. Titled Every Thing Matters, a combination of pop-art inspired pieces and still life by several artists working with Singaporean artist Justin Lee, this provided an unexpected bonus for myself, someone who has been involved in working and curating in the arts and mental health field. Given the variety of exhibitions within SAM, the design of the building, and the slightly disjointed but commonality of the building, I definitely would recommend SAM to any ‘stopovers’ or indeed anyone who lives in the area. Finally the onset of the regular, but my first, Singapore thunderstorm was an added delight to the gallery experience, with the ability to watch from behind glass or participate and get soaked within the courtyard.
From one space that has been transformed to a gallery to another unusual space now lending itself to performance – the silo at Wyndham Quarter was an unexpected event I came across whilst wandering around Auckland. I had heard about some changes to the docks and the arrival of ‘the cloud’ but I hadn’t been prepared for the new use of space in this area. Cavernous restaurants, childrens’ play area, pop up pizza and bar, all within a operating port area with passenger boats moored alongside luxury yachts, and ordinary sailboats nestling among refineries and silos.
I became happily emotional sitting in this area with my extended family in a space eerily recalling our own Birkenhead Docks – whose current owners Peel Holdings I doubt have such artistic intentions! – and noticing the invitation to a free performance in a silo, part of the White Nights evening and Auckland Arts Festival, I was too intrigued to miss out. Concretion, as it was called, turned out to be a fascinating sound and vision experience and one, months later, I can still recall.
Entering the silo itself was fascinating – my first silo! – and soon I was mesmerised by the sound of a cannister being bashed against floor and wall, by the movement involved by the artist in doing this, by the visuals projected on to the structure of the building and by the freedom to wander around, listen and watch, and note other people’s various different reactions. The mix of industry, art, sound and vision unexpectedly provided a total not-out-of-body-but-in-the-body experience, and the artists Robert Carter, Kim Newall and Clinton Watkins appeared to work in industrial harmony. I know it is not the same as in person but some of it is on video if you want to have a better idea: http://vimeo.com/64851667
Though this was a site-specific piece it made me think could Concretions be transported, a silo tour perhaps? Though no expert in silos myself – I am sure there are some out there – I guess it would depend on how many empty silos there are just waiting for these artists to come and bring their creative energy. What was the artists’ intention? To be frank I am not sure I know. I enjoyed it, in fact more than enjoyed it, and noticed it connected with the history of the place, the flowing movement of grain and industrialisation. Strangely, given the enclosed structure of the building, it also exploded with a sense of freedom, of anger almost, creating a dynamic event. A great happening within the Wynard Quarter, itself a fascinating, unusually unrestricted, experimental and slightly commercial vibrant dock area, Concretion provided a briliant way of engaging in local and international art and history. With SAM and silo we have two very different historic buildings providing space for experience, reflection and interest and may we retain more for the future.
A rainy Friday in December and I am on my way to an appointment. I am a bit early, so rather than get out at Liverpool St. I decide to stay on the tube to Aldgate and see whatever is currently exhibiting at the Whitechapel Gallery. On arriving I find that the artists – as far as I remember – are unknown to me. Mel Bochner’s exhibition is curious and colourful, but I decide it needs more time on another occasion. I then wander into the large space with the sculpture. At first intrigued, my mind starts asking questions about the piece, my voice starts asking the gallery assistant if I can touch it.
I sit down, and reflect. I stand up and wander round. I sit down again. I decide to spend the rest of my time just in this space, on the carefully placed bench, slow art thinking. I sit and ponder, enjoy the textures, and watch the reaction of passers by.
I am quite overwhelmed, the day seems as though it was made for me to see this piece of art. I hadn’t read about it beforehand, seen any images or heard about it from anyone. I find out that the artist is Guiseppe Penone. I realise I may have seen some of his work as part of Arte Povera, probably at Tate Modern, but I couldn’t be specific. This sculpture is titled Spazio di Luce (Space of Light).
I leave the gallery literally lightened in mood and feeling, as though I have been in a special space and, as occasionally happens, in the right place at the right time.
It’s free, it’s on until September 2013 (though I urge you to visit before the end of March), and rather than going into further detail about the sculpture and potentially influencing your initial impression I just ask you to take my (humble) advice and go and spend some time there. Subtle coercion, all post-visit feedback welcome!
Although this blog is called artsandmoresw4 – Clapham Common to those without the knowledge of London postcodes – I suprisingly haven’t covered anything from the area. SW4 is not totally a cultural desert, but most people visit Clapham for reasons other than the arts, and mainly for the numerous late-night bars and clubs it offers. Clapham North has artists’ studios (with additional hot yoga); Studio Voltaire, also with artists’ studios, in Nelson’s Row is a much respected gallery in the art world and will be at the world-renowned Frieze Arts Fair this October, though to my mind has a low profile within the area (if you want to find out more know it does have an open weekend this Fri 5th/Sat 6th October). In fact if you questioned what percentage of people go to Clapham for an arts event each month (excluding the festivals on the common) compared to other south London areas like Brixton, Deptford, Dulwich and Peckham it would likely be the smallest percentage of the lot. Buzzer goes eek.
The recent, and I am pleased to say, successful campaign by Omnibus_Clapham to save the local Victorian library building – there is a newly-built modern one now in Clapham High Street which looks actually more like a gallery, very impressive – and turn it into an arts centre showed that local people are willing to support local arts events. The wonderful Miriam Margoyles, local writer John O’Farrell, comedian Mark Thomas, the Moonfleet Trio and Arthur Smith all had sold out fundraising shows, and SW4 arts appreciation could be seen alive and kicking and, quite frequently, laughing too.
Earlier this year I was fortunate (for me) to decide to join the Clapham Community Choir (no auditions, should you ask) and through this find that the amazing conductor of the choir, Jessie Maryon-Davies, a classically-trained pianist, also presented, with fellow musician Amanda Lake, Clapham Chamber Concerts at St. Paul’s Church, Rectory Grove SW4 and has done for five years. Whilst I am known to be very ‘into’ my music it has to be said it tends not to be the classical variety, and though I may have seen the occasional advert in the members’ monthly Clapham Society hand-delivered newsletter (a thriving society, if you’re local do support it, reasonable rates) I never had the personal connection or local classically-minded friends that made me sit up and listen and think yes, that sounds great, I will go and see what it’s like.
I don’t know if I was put off by the Chamber Concerts title (I didn’t quite realise what a chamber concert was, pardon my ignorance, though I am now reliably informed it is small scale music performed in a relatively intimate setting) and have deliberately not titled this article ‘chamber concerts’, the title instead quietly referencing a rap group and a relevant David Bowie song title, or my brain just hadn’t taken it in. It’s not that I don’t listen to Classic FM or, dare I admit increasingly as I get older, Radio 3, play the odd opera record, or go to the occasional once-a-year classical music concert. Classical music just happens to play less a part of my musical life than pop/rock/soul gig going. Now acquiring ‘the personal touch’, as it were, meant that intrigue, hidden Bartok feelings, and ‘being supportive’ led me to go along to CCC earlier this year (March to be precise) and be very glad I did. I was blown away by the professional standard, the choice and variety of music, by individual musicians, and by the excitement of the event, all within in a Clapham High St. walking-distance beautiful old church setting. So blown away I went again (June) and for the second time was not disappointed, just impressed even more.
So it is with some ‘real classical’ experience that I strongly suggest that if you live in London you go along – I can’t drag you, it’s not acceptable these days! – on Friday October 5th 2012 to St.Paul’s Church, Rectory Grove (and diary date November 23rd), with or without friends, for 7.30pm and hear Beethoven, Britten and Shostakovich brought alive in Clapham for just ten quid. If you like classical music you will love it I am sure. If you haven’t been to a classical concert, take a chance, you will be suprised and probably very happy you made the autumnal effort.
Amanda and Jessie grew up in the area and are young people giving something back that is positive, professional and also enriching, on a personal and community level. The concerts have a broad appeal, sometimes including jazz, and are never more than £10, and concessions available. There is a website – http://www.claphamchamberconcerts.co.uk – if you want to check more details. In fact CCC could easily stand for Classic Cool Contemporary.
If you only come to SW4 for the night life try and pop in here first, you’ll have plenty of time to go elsewhere afterwards, and will start your evening on a musical high. SW4 arts on the up? Yes, I think it is.
artsandmoresw4 