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This year the Museum of London welcomes an exciting new exhibition, delving into the mind of the world’s most famous fictional detective; Arthur Conan Doyle’s Sherlock Holmes
Asking searching questions such as who is Sherlock Holmes, and why does he still conjure up such enduring fascination, this major exhibition – London’s first on the detective since 1951 – will explore how Sherlock Holmes has transcended literature onto stage and screen and continues to attract huge audiences to this day.
Going beyond film and fiction, visitors to the museum will be transported to the real Victorian London – the backdrop for many of Conan Doyle’s stories. Through early film, photography, paintings and original artefacts, the exhibition will recreate the atmosphere of Sherlock’s London, with visitors able to envisage the places that the detective visited and imagine they are standing on the pavement of the Strand watching the horse drawn traffic pass by.
Sherlock Holmes, the man who never lived and will never die, Museum of London
We look at the roots of Arthur Conan Doyle’s famous fictional detective, explore depictions of Victorian London and delve into the enduringly popular characteristics of Sherlock Holmes.
Transcending literature onto stage and screen, Sherlock Holmes continues to fascinate audiences to this day. In this exhibition, London’s first on the detective since 1951, we use early film, photography and paintings plus original Victorian era artefacts to recreate the atmosphere of Sherlock’s London, and to re-imagine the places featured in Conan Doyle’s famous stories.
Objects and artworks include:
• Sir Arthur Conan Doyle’s 1886 ‘A Study in Scarlet’ notebook, containing the first ever lines of a Sherlock Holmes story
• ‘The Murders in the Rue Morgue’ manuscript by Edgar Allan Poe
• Claude Monet’s painting ‘Pont de Londres’ (Charing Cross Bridge, London) 1902
• Belstaff coat used in the BBC’s Sherlock series, featuring Benedict Cumberbatch
Until 12 April 2015
# More on website museum of london
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Joris Luyendijk (1971) is te gast in VPRO BOEKEN over zijn nieuwste boek ‘Dit kan niet waar zijn’. Twee jaar geleden ging Luyendijk met zijn gezin in Londen wonen. Hij ging werken voor The Guardian, die hem de opdracht gaf om vanuit antropologisch perspectief te schrijven over The City, het financiële hart van Groot-Brittannië. De conclusie van het boek is even stevig als pijnlijk: de instellingen die ervoor moeten zorgen dat de economie functioneert, kunnen de wereld in de afgrond doen storten.
Joris Luyendijk
VPRO Boeken
zondag 22 februari 2015
NPO 1, 11.20 uur
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Hans Hermans © photos: London 2013
# More on website Hans Hermans
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Amy Winehouse: A Family Portrait
until 15 September 2013
The Jewish Museum is staging an original exhibition about Amy Winehouse, co-curated with her brother Alex and sister-in-law Riva. It is an intimate and moving exhibition about a much loved sister.
The family have given the Jewish Museum unprecedented access to Amy’s personal belongings that celebrate her passion for music, fashion, sudoku, Snoopy, London and her family.
Amy was close to her family and had a strong sense of her Jewish roots and heritage. Among the various objects on display, the exhibition will show many unseen photographs of Amy’s family life – Friday night dinners, Alex’s Barmitzvah and vintage photographs of their beloved grandmother Cynthia.
Located in Amy’s Camden Town, the Jewish Museum is the perfect place to find out about the woman behind the music and beyond the hype.
≡ website jewish museum london
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Hans Hermans © 2013: The London Eye
≡ Website Hans Hermans Fotografie
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Skulduggery. Oil on canvas, 150cm x 120cm
The art of Samuel Herbert
The art of Samuel Herbert is concerned with exploring what he describes as an ’empathetic moment’, whereby the viewer can make a connection with the people or scenes depicted in his paintings. His work confronts topics that have a resonating discomfort in contemporary British society, namely class and the inheritance of colonialism. Herbert has never sought to use these works as a platform for his own feelings on these issues but rather he makes paintings of images that exploit the gap between nostalgic recognition and revulsion at what is being depicted.
The Gallery. Oil on canvas, 210cm x 160cm, 2004
Herbert employs a painterly language that references traditional figurative painting and photographic appropriation. The paintings themselves are executed in a monochrome palette and applied using a variety of implements (including his fingers) on a prepared, uncannily flat, canvas surface. The resulting works are closer to drawing with paint than traditional painting and can resemble academic under paintings.
Arm Chair Heroes. Oil on canvas, 130cm x 120cm, 2003
Previous motifs have included fox hunting, private members’ clubs and various scenes from the British Empire. More recent work has sought to explore the appropriation of tribal art by early 20th century modernism. In these newer works Herbert has attempted to remove as many of the signifiers revealing the cultural origin of the source imagery as possible so as to raise questions in the audience’s mind as to the context and background of the figures depicted in his art. This removal of context is not a strategy for denying or obscuring the value of the cultural source but rather to open up a space for an audience to engage with a broader range of issues regarding identity, appropriation and empathy with the other.
Powerhouse. Oil on canvas, 150cm x 120cm, 2008
© paintings samuel herbert
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The Awkward Squad, 2012 – Oil on canvas, 76cm x 61cm
SAMUEL HERBERT (1976)
Samuel Herbert was born in London in 1976. He studied painting at Wimbledon School of Art and gained an MA from Goldsmiths college. He has over a decade of exhibiting experience and in that time has had six solo shows and numerous group shows in galleries and museums across Britain and Europe. His work is represented in several important collections of contemporary art, most notably the Saatchi collection, London. Herbert lives and works in London and is programme leader for the foundation degree in fine art practice with K College, University of Kent.
Converse, 2012 – Oil on canvas, 60cm x 40cm
Troll, 2012 – Oil on canvas, 24cm x 30cm
Samuel Herbert (1976)
Contemporary Artist – CV
Born: London, 1976,
lives and works in London
Education
2001-2004 Goldsmiths College, MA Fine Art
1997-2000 Wimbledon School of Art, BA Fine Art, Painting
1995-1997 Newham College, Foundation Diploma in Art and Design
Solo Exhibitions
2008
The Cremation of care
Gone Tomorrow Gallery, London
May-June 2008
2007
The Heritage of Cain
ZINGERpresents, Amsterdam, the Netherlands
September-October 2007
Art Cologne
Vamiali’s Gallery at Cologne Art Fair, Germany, April 18-22, 2007
2006
Skulduggery
Gone Tomorrow Gallery, Bethnal Green, London, August 5-28, 2006
Alien Subjects
Vamiali’s Gallery, Athens, Greece. March 11 – April 22 2006
2005
Natives and Colonials
ZINGERpresents, The Netherlands, October 19 – November 26, 2005
Unforgiven
Bearspace, Deptford High Street, London SE8, March 31 – April 18 2005
Selected Group Exhibitions
2012
The Perfect Nude
The Gallery, University of the Arts Wimbledon London, UK, January 12th-February 10th
Charlie Smith Gallery, London, UK, July 6th-July 28th
2011
Connection Point London
The Nunnery Gallery, London, UK, June 17th-July 17th
2010
Dawnbreakers
John Hansard Gallery, Southampton, UK, April 27-June 12
2009
In Their Own Words
End Gallery, Sheffield, UK, Nov – Dec 2009
The Royal Republic
Master Piper Gallery, London, May – June 2009
And Now?
Greek State Museum, Thessaloniki, Greece, Dec 17 – Feb 22
2008
Life is Only Half the Story,
Christchurch, Spitalfields, London, February 2008
2007
NADA Miami
ZINGERpresents, Miami, Florida Dec 5 – 9 Dec 2007
Late Night Ficition
Agisilaou 61A, Keramikos, Athens October 2007
Eau Sauvage II
Fieldgate Gallery, London E1, May 18 – 10 June 2007
Those Quaint Moments of Distress
Montana Space, Berlin. March-April, 2007
Art Rotterdam
ZINGERpresents at Rotterdam art fair, the Netherlands, February 7-11, 2007
Salon Nouveau
Engholm Englehorn Gallery, Vienna, January 25 – March, 2007
2006
Crossing Borders
Museum of Contemporary Art, Thessaloniki, Greece, September – November 2006
Kamikaze Blossom
Fieldgate Gallery, 14 Fieldgate Street, London E1, April – June 2006
Eau Sauvage
Lucy mackintosh Gallery, Lausanne, Switzerland, March – May 2006
2005
Hydrophobia II
ZINGERpresents, The Netherlands, December 14 – January 21, 2005-06
Artissima
Turin Artfair, Italy. Showing with Vamiali’s Gallery, 10-14 November 2005
‘When I lived in Modern Times’: Archive, artefact, album.
Northern Gallery for Contemporary Art, Sunderland, September 16 – November 12 2005
Gigolo
The Trafalgar Hotel, Trafalgar Square, London SW1, February 11-March 13 2005
Sunset in Athens
Vamiali’s Gallery, Athens, Greece, February 5-March 13 2005
Insurgence (Art Projects area, London Art Fair 2005)
Business Design Centre, Islington N1, January 18-23, 2005
2004
Revolution
Mare Street Studios, Hackney, London E8, October 17-24, 2004
Bonequake
16 Upper Wimpole Street, London W1, October 14-19, 2004
Goldsmiths Postgraduate Show 2004
Goldsmiths College, New Cross, London, July 22-26, 2004
Cinderella
Tower Bridge Business Complex, Bermondsey, London, July 16-31, 2004
The Solar Anus
Henry Peacock Gallery, London W1, May 28 – July 3, 2004
Ready, Steady, GO!
Three Colts Gallery, Bethnal Green, London E2, April 17 – May 1 2004
2003
Godzilla
2-10 Hertford Road, London N1, 25 October- 9 November 2003
2002
Work, Rest and Play
3-5 Leighton Place, London. 13-17 December 2002
Goldsmiths Postgraduate Show
Goldsmiths College London, July 2002, Postgraduate Diploma Show
Media/Collections
Collections
The Saatchi Collection, London
Various private collections in the UK, Europe, Asia and the USA
Media
Audio Visual Interviews
Television
Working Lunch, BBC 2, Feature on Art Fairs, Broadcast 22/10/04 12.30-13.30
The Week, ITV1 (LWT), Feature on the Turner Prize, Broadcast 24/10/04 12.45-13.15
Radio
In Business, ‘Framed’ BBC Radio 4, Broadcast 3/2/05 20.30-21.00 and 6/2/05 21.30-22.00′
Printed Media
Articles and Reviews
Contemporary, Annual 2007, p. 118-119
Timeout London (review) Martin Coomer, August 15 2006
De Telegraaf., National newspaper the Netherlands 14/2/06
‘When I lived in Modern Times’: Archive, artefact, album. ’Essay accompanying the exhibition by Alistair Robinson, Northern Gallery for Contemporary Art, Sept 2005.
Metro (north East) Review of Sunderland show, p.32 12/10/05
Metro (London), ‘Metro Life- London for Free’ p.25 Thursday 31/3/05
The Art Newspaper (International Edition) Judith Bumpus, Photo of work and discussion p.36 No 156, March 2005
The Independent,‘Save and Spend’p.5 Saturday 14/1/05
Scratch Band, 2012 – Oil on canvas, 80cm x 60cm
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Hayward Gallery London
TRACEY EMIN
Love is what you want
until August 29, 2011
Tracey Emin is one of Britain’s most celebrated contemporary artists. This major survey exhibition covers every period of her career, revealing facets of the artist and her work that are often overlooked. The exhibition features painting, drawing, photography, textiles, video and sculpture, in works that are by turns tough, romantic, desperate, angry, funny and full of longing. Seldom-seen early works and recent large-scale installations are shown together with a new series of outdoor sculptures created especially for the Hayward Gallery.
Since the early 1990s, Emin (b.1963) has used her own life as the starting point for her art, exposing the most harrowing and intimate details of her personal history. Sometimes confrontational or sexually provocative, her work resonates with the ‘personal political’ legacy of feminist art while at the same time speaking to relationships in general. Disarmingly frank and yet often profoundly private, much of Emin’s art – as this show makes clear – is also animated by her playful and ironic wit.
This show features works containing explicit images and words. Under-16s must be accompanied by an adult.
BLANKETS
Tracey Emin’s large appliquéd blankets overflow with words and phrases and are collaged from fabrics that have special meaning for her. The complex arrangement of applied letters and inscriptions has analogies with news design, with headlines and patches of handwritten texts spread across the work like print on a newspaper page. Reminiscent of banners paraded in religious, civic and political processions, Emin’s blankets contain many different voices, with topics ranging from incidents in her own life to concerns with events in the wider world.
NEONS
Tracey Emin uses neon to illuminate emotions, memories, feelings and ideas in graphic messages, sentences and poems. While neon has its seedy connotations, Emin finds it sexy: ‘It’s spangly, it’s pulsating. It’s out there, it’s vibrant.’ Translating handwriting and drawings into blown and bent neon tubing presents technical challenges,and the choice of words or images is crucial: ‘Not everything warrants being made in neon. It has to be specific. Neon is light, so, can you live with this thing glowing and the chemicals moving all the time?’
FILMS
Tracey Emin’s narratives and fantasies sometimes find their most appropriate expression in film. Mostly made in low-tech formats, their content veers from tragedy to comedy, from candid documentary to absurd flights of fancy. In How It Feels (1996) she recounts the details of a botched abortion and its physical and emotional aftermath, while in Love is a Strange Thing she is propositioned by a drooling dog. Her home town of Margate, and Cyprus, where her father is from, are locations for other short films about rites of passage in which music plays a prominent part.
MEMORABILIA
Tracey Emin’s family and friends are celebrated in many of her works. They often feature in assemblages that combine objects and ephemera along with handwritten texts. These narratives speak directly about their subjects – her maternal grandmother, her father – and the relics displayed. The earliest of them formed a ‘Wall of Memorabilia’ in her first solo exhibition, My Major Retrospective, in 1993. In 2003, Emin returned to using memorabilia in her art. Her exhibition Menphis featured framed ephemera and text memorialising different moments in her life, from childhood to adulthood.
DRAWINGS
Tracey Emin’s drawings are the mainstay of her art. They are in fact monoprints, a technique which involves drawing in reverse, through the back of the paper. Emin likes it ‘because you never know what the print’s going to be like when you turn it over.’ Her characteristic graphic line finds its expression in almost every medium she uses, including needlework. She explains that ‘through my embroideries, the line I draw is accentuated and extreme, which complements the way that I think.’
PAINTINGS
Tracey Emin describes her intimate, small-scale paintings as both ‘pretty and hard-core’. Though the subject is the artist herself, these more or less abstracted, often faceless images portray states of mind rather than physical likenesses. Admitting that she confronts herself with ‘apprehension and fear’, Emin goes on to say: ‘I try to detach myself from what I’m looking at, but at the same time I know exactly what I’m looking at. I’m looking at me in the most intimate way, which I don’t really want to look at or really think about, but try to come to terms with.’
SCULPTURE
‘I want to make sculptures that look like they’ve just landed,’ Tracey Emin has said. ‘Something conjured from my imagination.’ She makes sculpture in many media, but has a special affection for wooden structures: ‘Wood can be really grand, but it can also be small and intimate. Wood can be weathered, it’s got a history.’ Knowing My Enemy (2002), a partially-collapsed pier with a hut at its end, pays homage to her father. Other sculptures in the exhibition reflect the everyday tensions of love, or evoke disparate, dysfunctional families.
WRITING
Tracey Emin has said that writing is the backbone of everything she does. ‘I’m not known as a text-based artist, but I should be really,’ she points out. ‘It’s my words that actually make my art quite unique.’ Lettering and handwritten texts take centre stage in her blankets, neons and memorabilia works and act as voiceovers in her graphic art, while spoken narratives are a feature of her films and videos. A published author and newspaper columnist, Emin makes direct and powerful statements and observations, tells stories, plays with language, and writes poems and love letters.
Southbank Centre/Hayward Gallery London
TRACEY EMIN
Love is what you want
≡ Website southbank centre Hayward Gallery
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Hayward Gallery London
TRACEY EMIN
Love is what you want
until August 29, 2011
Tracey Emin is one of Britain’s most celebrated contemporary artists. This major survey exhibition covers every period of her career, revealing facets of the artist and her work that are often overlooked. The exhibition features painting, drawing, photography, textiles, video and sculpture, in works that are by turns tough, romantic, desperate, angry, funny and full of longing. Seldom-seen early works and recent large-scale installations are shown together with a new series of outdoor sculptures created especially for the Hayward Gallery.
Since the early 1990s, Emin (b.1963) has used her own life as the starting point for her art, exposing the most harrowing and intimate details of her personal history. Sometimes confrontational or sexually provocative, her work resonates with the ‘personal political’ legacy of feminist art while at the same time speaking to relationships in general. Disarmingly frank and yet often profoundly private, much of Emin’s art – as this show makes clear – is also animated by her playful and ironic wit.
This show features works containing explicit images and words. Under-16s must be accompanied by an adult.
Southbank Centre/Hayward Gallery London
TRACEY EMIN, Love is what you want
√ Website southbank centre Hayward Gallery
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Exposition Vincent Berquez in Langham Gallery London
VINCENT BERQUEZ
NEW WORKS
7-20 February 2011
Langham Gallery
34 Lamb’s Conduit Street, London, WC1N 3LE
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Street poetry: London’s greatest love story
Kempis, London 2010
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Rudyard Kipling
(1865-1936)
The River’s Tale
Prehistoric
Twenty bridges from Tower to Kew–
(Twenty bridges or twenty-two)–
Wanted to know what the River knew,
For they were young, and the Thames was old
And this is the tale that River told:–
“I walk my beat before London Town,
Five hours up and seven down.
Up I go till I end my run
At Tide-end-town, which is Teddington.
Down I come with the mud in my hands
And plaster it over the Maplin Sands.
But I’d have you know that these waters of mine
Were once a branch of the River Rhine,
When hundreds of miles to the East I went
And England was joined to the Continent.
“I remember the bat-winged lizard-birds,
The Age of Ice and the mammoth herds,
And the giant tigers that stalked them down
Through Regent’s Park into Camden Town.
And I remember like yesterday
The earliest Cockney who came my way,
When he pushed through the forest that lined the Strand,
With paint on his face and a club in his hand.
He was death to feather and fin and fur.
He trapped my beavers at Westminster.
He netted my salmon, he hunted my deer,
He killed my heron off Lambeth Pier.
He fought his neighbour with axes and swords,
Flint or bronze, at my upper fords,
While down at Greenwich, for slaves and tin,
The tall Phoenician ships stole in,
And North Sea war-boats, painted and gay,
Flashed like dragon-flies, Erith way;
And Norseman and Negro and Gaul and Greek
Drank with the Britons in Barking Creek,
And life was gay, and the world was new,
And I was a mile across at Kew!
But the Roman came with a heavy hand,
And bridged and roaded and ruled the land,
And the Roman left and the Danes blew in–
And that’s where your history-books begin!”
Hans Hermans photos
Poem Rudyard Kipling
kempis poetry magazine
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