Created in 1978 by internationally renowned choreographer Pina Bausch, Kontakthof is one of her multiple Tanztheater Wuppertal creations-a form of expressionist dance which can also be named dance theatre. The title is derived from Kontakt ‘contact’ and Hof ‘court, ‘courtyard of contact’, which is also a technical term for an area in some brothels where people first meet. Kontakthof opens in a formal dance hall setting of the 1920s with tango playing in the background and around twenty two dancers in suits and evening dresses. You are thinking that you are about to witness a ballroom dance. Instead what unfolds is a game of seduction. Pina Bausch addresses some burning societal issues: how our bodies are controlled by social norms, how suffering is part of the seduction game, how women’s bodies are objectified. The opening scene sets the ambience for the rest of the performance. The performers come forward to expose themselves to the audience, front, back, in profile, check their teeth, show their arms and their chest. The characters on stage did everything they could to please someone at the party. While this is a relatable experience for many in the audience, the  choreography goes beyond that to explore the brutal nature of the power game in gender relations.

Once again, the internationally acclaimed company Tanztheater Wuppertal perform with verve alternating with sequences of effusion, humour and tenderness. Through an awe-inspiring performance, the dancers navigate between different characters: the femme fatale, the naive woman and the woman blowing up due to societal pressure. Kontakthof performed 40 years ago for the first time in London has not lost its relevance in the current times. Bausch’s piece is constructed of short units of dialogue and action, presenting a surreal intermingling of acts. In a succession of scenes, women progressively lose themselves under the oppressive male influence. Pina Bausch blurs the line between sensuality and violence, confronting the audience with the uncomfortable topic of the objectification of women, while also generating laughs due to the absurdity of some seductive acts.

The objectification of women was inspired by Bausch’s own experience in her audition as a dancer in New York: “It’s the idea of being judged on how you look – from the front, from the side, from the back. You didn’t get a chance to do anything”. Pina Bausch chose to explore through her experiences, alternating between social pressure on bodies and moments in which the performers break away from these structures, moving their bodies as they please.

Kontakthof is a powerful piece- the human sentiments expressed in this work are timeless. It is a reflection of the complex relationship between man and woman and how social pressures affect our minds and bodies.

Image Source: Sadler’s Wells Press

Kontakthof runs until February 6th 2022 at Sadler’s Wells. https://www.sadlerswells.com/whats-on/tanztheater-wuppertal-pina-bausch-kontakthof/ 

Reviewed by Alix Berthelot–Moritz- Alix is a volunteer writer for Abundant Art. Originally from Normandy, France, she follows her passion for journalism and art by studying at the European Political and Social Sciences of UCL, London. As an international student living in London, she is determined to fully experience and discover the entirety of the city’s vibrant arts scene and share the beauty of it through her writing.

Fidel stands in the middle of his memories, attacked by the voices putting him down, he struggles to find his way towards self-acceptance. Conundrum is a one-man show written and directed by Paul Anthony Morris. This psychological drama stars Anthony Ofoegbu as Fidel, a man who, while tidying his house, encounters his old diary. Opening his Pandora’s box brought him back to his childhood and to the trauma he suffered. We follow him as he undergoes a psychological fight against his old demons, trying to figure out why it did not work out as he had hoped. Fidel was a genius child who received contradictory information. His mother told him that he was a child prodigy while his teacher and friends treated him differently: ‘be 10 times better than the other child’; ‘no more lofty ideas’. In the middle of the stage was drawn out a blackboard with sentences scribbled on it with chalk. Within the confines of it, we discover a lost child who does not understand what society is expecting from him. We see Fidel struggling with his emotions and searching for self-identity through the act. We follow him on his journey in which he tries to piece together where it all went wrong.

This performance looks deeply into the consequences of systemic racism on children and how hard it can be for a child to face those incomprehensive barriers. The child’s emotions are fully taken into account, showing his endeavour to fight back the things that prejudiced adults said to him. Fidel shares with his audience those memories from the past that have now come back to haunt him. The main focus of this drama is based on the psychological struggle of Fidel and steers away from developing into a layered narrative. Anthony Ofoegbu excels in emoting his psychological struggle and keeps his audience captivated even without multiple layers developing in the narrative. Fidel questioning his past and trying to find answers through his personal journey is the central theme and the entire act spirals around it without much forward movement. Fidel’s emotional journey dominates the context. It would be interesting to go further with him to understand how in the end he moves on from the spot he was in.

Conundrum is a psychological drama about one man’s struggle to overcome society’s stereotypes and oppression. It will run until February 4th 2022 at the Young Vic, in Waterloo, London.

Click below to get last-minute tickets:  https://www.youngvic.org/whats-on/conundrum-2022.

Reviewed by Alix Berthelot–Moritz. Alix is a volunteer writer for Abundant Art. Originally from Normandy, France, she follows her passion for journalism and art by studying at the European Political and Social Sciences of UCL, London. As an international student living in London, she is determined to fully experience and discover the entirety of the city’s vibrant arts scene and share the beauty of it through her writing.

The Roundhouse’s ‘In the Round’ festival concluded on the 24^th of January with the entrancing expertise of Malian Kora player, Ballaké Sissoko and French cellist Vincent Ségal. With an exceptional opening performance from South African cello player Abel Selaocoe, the soothing atmosphere was set for the performance ahead. Ségal and Sissoko’s set began with the soft strings of the kora, (also known as the West African harp), before the introduction of Ségal’s cello. The instruments then both came in together complementing each other. This opening song was ‘Chamber Music’, the title track from Ségal and Sissoko’s first collaboration album released in 2009.

The hybridity of West African and European culture is one of the elements that make the collaborations between Ségal and Sissoko all the more engrossing. The fusion of the kora and the cello, though unlikely, flows effortlessly due to the musical prowess and the chemistry of both artists. They were able to weave in and out of solos letting each other shine and allowing the audience to experience the rippling gentle strings of the Kora and the serpentine rhythms of the cello, before coming together elegantly and harmoniously.

Ségal and Sissoko attained complete absorption of the audience throughout their ninety-minute performance. With not much audience conversation in-between pieces, the set felt like a dedication to inviting the audience to immerse themselves completely in the music. For the encore of the performance, opening act Abel Selaocoe was invited back on stage providing delicate vocals and the soft strings of his cello, as the three joined forces. Graceful, sophisticated and soulful, the night of music with Ségal and Sissoko was something everybody should experience.

Check out their music here: https://www.roundhouse.org.uk/whats-on/2022/in-the-round-festival-2022/ballakesissoko-vincentsegal/

Reviewed by Lian Lakhope. Lian is a MA Global Media and Communications student at SOAS and a volunteer writer for Abundant Art. Lian has written for a number of different publications, mostly about music, culture and film and she is enthusiastic about expressing her passion for creating art and media.

Life Between Islands: Caribbean-British Art 1950s is exhibiting works of over 40 artists, documenting the lives and works of people from the Caribbean and those inspired by the Caribbean, in post-war Britain. Curated by David A. Bailey, Artistic Director of the International Curators Forum and member of the Black British Arts Movement, Life Between Islands is an emotive and extensive survey of Caribbean heritage and its place within British culture and society.

When I visited on Saturday morning, Life Between Islands was sold out. The first room was busy, but no one was talking. The bass from a video room further away reverberated into the space setting our collective metronome. In the centre of the room, welcoming you as you enter, sits Ronald Moody’s ‘Johanaan’ (1936). Moody’s sleek sculptural figure, carved from a block of elm, takes inspiration from the art and spirituality of Egypt, India and China. It engulfed me as I stood in front of it; huge, still, calm.

The exhibition itself is gloriously interdisciplinary; paint, textiles, documentary photography, poetry, design, music. They sit together building a picture of seventy years of cross-cultural exchanges within Caribbean art. I watched as people paused at different works. In the third room, I paused at a glass cabinet in the centre of the space. I was struck by Barbara Walker’s ‘I can paint a picture with a pin’ (2006), a series of intimate ink drawings of the artist’s son made directly on the police forms handed to him every time he’s been stopped and searched. The four-paper works speak of racial profiling, surveillance and our ever-intensifying police state. Subtle and delicate, they were quiet in their power.

As I moved through the spaces, I noticed the exhibition is organised both chronologically and thematically. Each space contains a large wall text connecting the works around a subject; Arrivals, Pressure, Ghosts of History. On a more intimate level, the smaller exhibition texts that sit alongside each work tell the artist’s stories. The text next to Charlie Phillip’s photo series reads ‘… it’s not black history, this is British history; whether you like it or not’. The quote made me think about how much work still must be done in diversifying Britain’s mainstream collections and exhibitions. On the back page of the exhibition guide, Tate tentatively takes accountability for their colonial heritage. They say many of the works exhibited here are now included in their collection. Life Between Islands is important, urgent and long overdue for Tate.

The final rooms of the exhibition feature work produced in the last few years exploring Caribbean-British identity, community and history through a contemporary lens. In a small room to the right, a video was playing. The space was dark and I struggled to find the chair. I held back allowing my eyes to adjust to the screen showing The Otolith Group’s mesmeric film-essay INFINITY minus Infinity (2019). As I listened to the voice-over, my mind got stuck on certain linguistic phrases such as ‘Hostile environment’ and ‘I can’t breathe’.  The work speaks of multitudes; slavery, governmental discrimination and neglect, the ongoing climate catastrophe. It explores the distress of the past, present and future, all ultimately linked by British Imperialism.

I left the exhibition reflecting on its varied content. Many of the works reference experiences of hostility and discrimination, but it is also an exhibition full of celebration. The works speak of solidarity, community, resilience and creativity.

Life Between Islands: Caribbean-British Art 1950s is showing at Tate Britain, London, until 3 April. For booking info click below:

https://www.tate.org.uk/whats-on/tate-britain/exhibition/life-between-islands  

Image: Barbara Walker, I can paint a picture with a pin (2006)

Reviewed by Amy Melling – Amy is a Curator and Creative Producer whose practice is centred around community-led arts projects. Her current research is focused on curatorial methods for exhibiting artworks outside. Amy has a keen interest in the arts and recently completed an MA in Curating and Collections at Chelsea College of Arts, UAL.

Ativador Office 2013

Partnering with the Southbank Centre, Out-spoken is a poetry organisation that celebrates the diversity of voice in writing and performance. A night dedicated to amplifying the voices among us that aren’t always heard, I listened intently to the messages which were being shared in this collective space.

The night consisted of both poetry and music, with sets from Jason Allen-Paisant, Andrew McMillan and Mona Arshi (see image); and music from Raquel Martins and Benny Atlas. As they spoke from the depths of their hearts and minds, each artist created an atmosphere filled with emotion. Poetry revolves around the personal; there was a shared sense of authenticity throughout the evening. Entranced by the words which flowed through the evening, I thoroughly enjoyed this event!

Andrew McMillan performed a selection of poems relating to mental health and its struggles. The poems which were so deeply personal reverberated across the room, allowing the audience to emotionally connect with the poet. As calls for more conversations around mental health, particularly men’s mental health, are rising, McMillan’s performance was powerful in its prose.

Mona Arshi, the winner of the Forward Prize for Best First Collection in 2015, performed a selection of her new poems. Reflecting on her experiences during lockdown – which was all extremely relatable – she shared that writing poems had “saved her” during this time of uncertainty. She also performed a ghazal, which she explained carried her emotions more wholly.

The musical performances from Raquel Martins and Benny Atlas were phenomenal.  Captivating the audience with their powerful vocals and soul-touching lyrics, it was amazing to hear the voices of two talented, upcoming artists. Benny Atlas, who emerged onto the scene in 2020 delivered a brilliant performance. His smooth vocals and heartfelt lyrics vibrated across the room and ended the night on a sweet, melodic note.

Outspoken will be back at the Southbank Centre on 24 February 2022, book your tickets now at: https://www.southbankcentre.co.uk/whats-on/literature-poetry/out-spoken-february?eventId=893732

Website: http://www.outspokenldn.com

Reviewed by Ridha Sheikh – Ridha is a volunteer writer for Abundant Art. She is a recent History and Politics graduate from Queen Mary – University of London. Ridha is excited to explore and share her strong passion for London’s art scene.

KMS Pico

Not far from Oxford street, in a parallel street to the countless shops and restaurants of Bloomsbury, is a curious place that would catch the eye of even the busiest shopper that passes by. A big neon speech bubble, “The Cartoon Museum”, invites you to proceed through a colourful entrance covered in comic strips. As one goes down the stairs that lead to the beginning of the exposition, it is hard not to get overflown by some sort of childish excitement.

The museum stores a collection of over 6,000 original artworks in addition to a library of over 8,000 comics and books. The exposition displays over 250 of these original prints in a chronological experience that retraces the birth and evolution of the satirical cartoon. Despite their historical and geographical variety, all the sketches are connected by the same red thread: a zesty and ironical view on life that is not afraid to shout out the truth and say the unsayable. Whether their goal is to shock, sensitise, denounce or flat out mock, they always hit the mark and will get more than a few chuckles out of you.

Even though the cartoons are often quite political, we are left to draw our own conclusions as the exposition doesn’t take any stance or overexplain any aspect of the sketches. The simple descriptions next to every drawing let the pictures express themselves without over-politicising them or over-explaining the historical background: the most important aspect is the humour, and everything else comes in second place.

The historical layout of the exhibition gives an interesting insight into the evolution of technique and comedy through the ages, as one witnesses the transcendence of some timeless gags that still make us laugh today. One goes from the French critics of nobility during the French Revolution, when artists were given unprecedented freedom of expression, to anti-Nazi propaganda and caricatures of Donald Trump.

Furthermore, the museum encourages a creative interaction with the cartoons, as it offers multiple workshops for the public to enjoy. We are given pen and paper and can choose multiple activities such as making a caricature, learning to draw Beyoncé or inventing our own lab monster. In addition to the workshops, the museum is hosting a public experiment that aims to explore the psychology behind cartoon humour. Spectators can choose to take part in it until June 5th, and will be given multiple pairs of cartoons of whom they have to choose the funniest.

Overall, the Cartoon Museum is a little hidden gem in Soho that celebrates the art of irony and humour with levity and taste. Get your tickets or check out their sketching classes at https://www.cartoonmuseum.org 

Reviewed by Céline Galletti- Celine is a volunteer writer for Abundant Art. Originally from France and Italy, she follows her passion for writing and art by studying Comparative Literature at UCL, London. As an international student living in London, she is determined to fully experience and understand the city’s vibrant arts scene, and be a part of its creative storm.

Riverside Studios collaborates with The Art Hound Gallery for the second time with this new provocative exhibition: Bad Reputation. It features an entirely new collection of artworks by some of the most exciting contemporary artists in the country. Inspired by the Rock and roll queen Joan Jett for the title, ‘Bad Reputation’ features badass female artists and celebrates awesome women who dare to kick back. It includes a variety of works such as a wonder woman poster of the graphic designer and Illustrator Barry D Bulsara, the new collection ‘Bad Girl’ from the father and son artist duo ‘Grow Up’,  displaying skateboarders on road signs. We also see custom hand-blown neons by superstar British artist Lauren Baker. The artwork that can be seen from outside the studio while walking towards the entrance, would intrigue you to walk in and watch the entire exhibition – they are provoking and asserts women’s power. Among many others, there is Naomi Wallens’ photograph ‘All The Girls In London’, captured on an impromptu photo shoot on a cold January morning at 4 am on the streets of Dalston. Her work challenges female conformity.

Naomi Wallens’ new ‘Good Girls’ collection created exclusively for this exhibition could be a new discovery for so many. Each of the artworks of her collection portrays a well-known pop star such as Miley Cirus, Rihanna, Lady Gaga, provokingly and daringly looking at the viewer. They are surrounded by slogans such as ‘break the rules’, ‘I want to celebrate the pieces of myself’. These representations highly contrast with the usual pictures of the pop-stars in their designer attires for the MET gala. In this new collection, Naomi Wallens explores the complexities of societal pressures of conformity and the profound impact this has on our ability to feel connected to our own selves.

A special mention goes to The Riverside Studio. As you walk in, you discover a warm and comfortable atmosphere where you can attend a variety of music gigs, cinema, theatres and exhibitions. This is a perfect spot to enjoy one of their events or to head into their cinema to watch a film. Ending it all with a walk on the river bank. The Riverside Studio is a meeting place in a loving neighbourhood where you will be able to discover new artists as well as enjoy the convivial atmosphere.

‘Bad Reputation’ is an art exhibition, inspired by badass female artists and celebrates women’s powerful behavior. It will run until April 18th 2022 at the Riverside Studio, London.

Learn more about this venue and get your tickets for their events at https://riversidestudios.co.uk/see-and-do/bad-reputation-14542/.

Reviewed by Alix Berthelot–Moritz- Alix is a volunteer writer for Abundant Art. Originally from Normandy, France, she follows her passion for journalism and art by studying at the European Political and Social Sciences of UCL, London. As an international student living in London, she is determined to fully experience and discover the entirety of the city’s vibrant arts scene and share the beauty of it through her writing

Sadler’s Wells “Wild Card” gives young  and upcoming artists the opportunity to design their own night and share their voices. On January 20th, the stage was given to Akeim Toussaint Buck for his Wild Card “Radical Visions”. The event contained two live dance performances, a premiere of Toussaint’s short film “Displacement” and a final shared experience of dance and spiritualism. An evening of dance that explored the realities of social inequality and identity crisis faced by immigrant communities in England, all within a universe of creativity and celebration of cultures.

The show opened on Alethia Antonia’s solo “Inscribed in ‘Me’”, a  mesmerising performance filled with intimacy and passion that explored the themes of trauma and identity. This loss and search for identity were reflected in every aspect of the choreography, from the changes and cuts in the music to the portrayed hesitations and variations of the style of dancing to the powerful acapella singing performance. The most blatant aspect of identity remains the change of costumes: initially, the dancer was adorned with a regal black fishnet costume that went all the way up to her face like a muzzle, a majestic yet terrifying costume that she subsequently replaced with modern plain clothes found in a mysterious box filled with clothes. The dance revolved mostly around that object, as the woman seems tormented yet curious about this box of Pandora, of which she ended up frantically throwing around all the clothes before the stage faded to black.

The second dance “Black Is…” was put on stage in the quartet of the studio Fubunation in a rhythmical and collective dance choreographed by Rhys Dennis and Waddah Sinada. The four dancers performed in perfect unison and acted as a unique living entity with some instances of interaction where they would support and push forward each other with mellifluous movements. However at instances, the collective spell would suddenly break, and a single dancer would wake up from this shared trance and stop dancing in a timid revolt and discovery of their individuality. Their awakening wouldn’t last long, and they would suddenly fall back in the fluid and balanced flow of the collective dance.

The second act of the evening was a screening of Toussaint Buck’s short film “Displaced” which cinematically reinterpreted his dance solo “Windows of Displacement”. The film beautifully blended cinematography, dance and spoken word to convey an extremely powerful message of race, identity, power and hopefulness. A sort of personal manifesto from Buck that drew from his personal relationship to dance, his Jamaican origins, his experience in the United Kingdom and his life philosophy. A personal and intimate journal, yet extremely universal as it told the story of the reality of the thousands of marginalised lives that still exist today. The scenes where Toussaint dances on the beach (they were not Jamaican beaches) in a majestic white costume are intertwined with scenes of public settings such as a supermarket, a laundrette or a playground. The adjacency of the two universes shows the nostalgic contrast of the freedom of movement and expression in the large Jamaican tundra and the confined restraint and gloom of the city, whilst also representing the dancer’s clashing national identities. Overall, the goal of the movie is to sensitise it’s viewers through the act of sharing their hope, culture and zest for life.

In an age where political parties are as divergent as ever on the questions of immigration, Toussaint’s “radical visions” offer an alternative: communion instead of division. Sharing a culture instead of carrying on the mentality of division and marginalisation that is currently predominant, all through the beautiful and universal medium of dance.

Image credit: Camilla Greenwell

Check out the next upcoming show at Sadler Wells at https://www.sadlerswells.com/whats-on/.

Reviewed by Céline Galletti- Celine is a volunteer writer for Abundant Art. Originally from France and Italy, she follows her passion for writing and art by studying Comparative Literature at UCL, London. As an international student living in London, she is determined to fully experience and understand the city’s vibrant arts scene, and be a part of its creative storm.

About Akeim Toussaint Buck

Akeim Toussaint Buck is an interdisciplinary performer and maker, born in Jamaica and raised in England. Akeim’s intention is to create moving, thought-provoking, accessible and free-spirited projects. The work challenges, enlightens and entertains in a visceral way, calling on multiple art forms to tell the story. Audiences are invited to not just observe: they are implicit in the experience. His work aims to reflect on reality, looking at ongoing socio-political issues, with a humanitarian intention.

Since graduating from the Northern School of Contemporary Dance with a Bachelor’s degree in Performing Arts, Akeim has been involved in multiple cross-disciplinary programmes with a wide range of artists and communities from around the world. The aesthetic of his work combines: dance, creative writing, film, poetry, beat-box, singing and acting. Fused to tell stories capable of bridging the gaps between a variety of audiences.

Akeim’s movement interest has a myriad of inspirations, from Capoeira, Kick Boxing, Contemporary Dance, Contact Improvisation, Caribbean Dance, Hip Hop, Yoga and Release Technique to name a few. His performance focus expands from the physical to vocal expression. Building on an interest in the voice’s expressive qualities, with current explorations of beatboxing and vocal improvisation.

Recent achievements include becoming Irie Dance Theatre’s, Artist in Residence for 2019-2020, becoming the Artist for Northern School of Contemporary Dance, Yorkshire Dance and Spin Arts’ Catapult 2019. Thanks to Deda Theatre in Derby where Akeim has been recently appointed Associate Artist 2020-2021, gaining more support in his work. Thanks to Geraldine Connor Foundation where Akeim is an Associate Artist. Attaining a Seed Commission for piloting Beatmotion Mass for Leeds Year of Culture 2023.

Akeim’s work has been supported by Yorkshire Dance, Leeds Playhouse, Leeds Inspired, IRIE! Dance Theatre, Spin Arts, Serendipity, NSCD, Sadler’s Wells and Arts Council England. His choreographic work includes: Snakebox’s PLAY, Windows Of Displacement, Reckoning, Sib Y Osis, Beatmotion, Souls & Cells etc. Film work includes Galvanise & Displaced.

Instagram/Twitter/Facebook:
@toussainttomove

www.toussainttomove.com

Well known for her distinctive patterns and colourful works Bridget Riley’s ‘The Pleasures of Sight’ exhibition features her ground-breaking black and white checkerboard paintings and more recent colourful, striped and curved paintings. Celebrating  Bridget Riley’s 90^th Birthday and 60-year career, this exhibition explores the artist’s love of sight. When I visited her exhibition I was definitely seeing things in a new way and it felt different and refreshing. Her art in general is mesmerizing. What look like simple and beautiful paintings are powerful and engaging and have a sense of wonder about them that I really love. Bridget Riley is perhaps one of the best-known artists who thrives on manipulating our ‘ways of seeing’.

A lot of Riley’s art incorporates optical illusions and gives you the impression that the art is moving, swirling or pulsing and you feel like the paintings are still but moving. You are forced to feel the sensations that colours and shapes do to you and re-consider the mundane with the intensity of looking. I felt like my sense of sight was taking over. Whether Riley was born with a creative eye or learned her unique way of seeing and thus creating, it’s as if she’s teaching us to look harder and deeper and learn or re-learn the art of seeing.

Examples from the 1960’s to the present day with oils and prints include Movement in squares, Red Movement, Untitled (Fragment 1), Song of Orpheus and her newest piece Ecclesia as shown.

Riley’s investigation of colour and form and her interactions between colours (harmonious or not) is fascinating, especially if you’re genuinely interested and curious about colour relationships like me. Designed by Marks Barfield Architects, who also did the Millenium wheel, The Lightbox Gallery is a friendly and relaxing place to visit and now Riley’s work is there it’s a great excuse to wander down there.

This exhibition was sponsored by Bonhams Fine Art Auctioneers and Valuers. All works © Bridget Riley, 2022.

Explore the artist’s enduring exploration of colour, structure and perception by booking your day pass here: https://www.thelightbox.org.uk/bridget-riley-pleasures-of-sight

Written by Julia Nelson who does marketing and operations for Abundant Art.