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Sebastião Salgado: Amazônia – Review

Sebastião Salgado, the award-winning Brazilian photographer, launches his captivating photography exhibition of the natural, breath-taking beauty and diversity which lies within the Amazon rainforest. Captured across seven years, the exhibition explores the fascinating intricacies of nature, which are slowly beginning to disappear as we witness the destruction of the rainforest.

The exhibit presents 200 black-and-white photographs displaying the dramatic landscapes of the Amazon’s winding rivers, powerful waterfalls, and immense jungle, which certainly do not fail to amaze the eye. We are shown stunning portraits of the indigenous natives who have inhabited the rainforest for centuries, as we explore their homes.

At a crucial stage in the fight against climate change, Salgado’s exhibition puts into perspective the importance of protecting the Amazon rainforest for the future of our planet. Every year, tens of thousands of farms expand their area, eating away at the immense forest, which is having severe impacts on global climate change. If we continue like this, we will reach a ‘tipping point’, where the damage to the Earth will become irreversible. Salgado shows us many of the unique natural features of the Amazon, such as ‘Sleeping Beauty Mountains’ and ‘Flying Rivers’, which we must protect before it is too late.

Salgado also draws our attention to the fact that climate change is damaging and destroying the home of an estimated 370,000 natives, divided into 188 groups, and speaking around 150 languages. Through a series of images and videos, we are shown the incredible diversity within the Amazon. Each indigenous tribe has its own unique history, culture and traditions which they have upheld due to the impenetrability of the rainforest. It is fascinating to see the ways in which they distinguish themselves, from face and body painting, piercings, and the plants which they wear. Many of the tribes live in almost complete isolation, utilising the resources in the rainforest in magnificent ways. During one film, a woman from the Xingu tribe expressed how climate change is noticeably threatening their way of life as resources are being destroyed.

Amazônia is a powerful, moving exhibition that beautifully captures the extraordinary nature of the rainforest and its inhabitants. With climate change becoming an extremely important contemporary issue, the exhibition reminds us why it is so urgent for us to act now. I would highly recommend this exhibition to everyone, as it explores the importance of the Amazon, for all of our futures, as well as the unequaled power and beauty of the rainforest.

To book your tickets, click here: https://www.sciencemuseum.org.uk/see-and-do/amazonia

Chaman Yanomami en rituel avant la montee vers le Pico da Neblina, Etat d’Amazonas, Bresil, 2014 © Sebastiao Salgado / nppictures

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.

The French Dispatch – ICA Review

Cinemas are currently experiencing a long-awaited revival after the pandemic and a multitude of long-anticipated movies are finally being released. In the middle of this cinematic storm, one of the most acclaimed movies is “The French Dispatch”, the brand new movie by acclaimed director Wes Anderson. Impossible to miss, the film is currently in every cinema in London and showcases at the ICA until November 11.

Following the death of its Editor Arthur Howitzer Jr. (Bill Murray), the American magazine “The French Dispatch” issues one last edition, including an obituary, a travel guide, and three short chronicles under the sections “Painting”, “Poetry” and “Food”. The structure of the movie follows the structure of the magazine: the plot is divided into five sections that are introduced with chapter headlines and are heavily narrated as if we are reading the magazine.

The obituary introduces us to the members of “The French Dispatch” as well as the strict but beloved figure of the deceased editor, Howitzer. This introduction alone sets the tone of the movie, as it offers a succession of eccentric scenarios and characters, all within a rapid pace of humour and colourfulness. After the brief “travel guide” section introduces us to the French town of “Ennui-sur-Blasé” (literally “Boredom-on-Dull” in French), the “reading” of the magazine continues with three stories: “The Concrete Masterpiece” retraces how an institutionalised criminal painter invents abstract art out of love for his prison guard; “Revisions to a Manifesto” is a story of youth and love in the heart of student revolts; finally “The Private Dining Room of the Police Commissioner” is a suspenseful tale of food, identity and kidnapping. These three chronicles are presented by their respective writers with rather fast pacing which might be a little confusing to a less attentive viewer, and they definitely require multiple viewings to be appreciated fully.

From a technical perspective, Wes Anderson delivers perfectly: lovers of “The Grand Budapest Hotel” and “The Royal Tenenbaums” will be delighted, as every single frame of the movie is symmetrically perfect and extraordinarily original. Despite being led by oral narration, the visual aspect is probably the strongest element of the movie, and although the three chronicles are mostly shot in black and white, this doesn’t take anything away from the visual originality of the film. In addition to being a patchwork of stories, the film is indeed also a patchwork of different techniques: it jumps from extremely bright colours to black and white, as well as having some elements of cartoon animation, written sections, still frames, PowerPoint presentations, tv show segments, and entirely French-speaking characters. These technical creative liberties mixed with the original scenarios of the stories make for an extremely rich, eccentrically poetic movie, that could however confuse some audiences more familiar with a more “classical” structure in cinema.

Despite being borderline fantasy stories, the chronicles are full of humanity as they tell very touching tales with attaching characters. The performances of the stellar cast are all worth mentioning, although the fast pace of the movie and the succession of different stories only allow for a very short screen time for each of the actors. Benicio del Toro, Tilda Swinton, Adrien Brody, Léa Seydoux, Timothée Chalamet, Jeffrey Writer, and many more are extremely memorable in their respective roles.

The movie is a love letter to journalism and art, packed in metronomically precise pacing and an immaculate mise-en-scène that will be thoroughly enjoyed by any Wes Anderson admirer. Get your tickets for an ICA cinema screening at https://ica.art/films/the-french-dispatch. 

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.

Sardar Udham: A biographical tale of a profoundly haunted revolutionary

On April 15th 1919, a historic garden in India, Jallianwala Bagh, was subjected to a horrific, barbaric massacre wounding and killing hundreds of people who peacefully gathered to protest against the arrest of pro-Indian independence leaders Dr. Saifuddin Kitchlew and Dr. Satya Pal. Sadar Udham Singh, who survived the massacre, has carried the weight of the devastation, sorrow and anguish of this catastrophe throughout the years and embarks on a personal quest of revenge and retribution for the atrocities imposed upon the Indian people. Director Shoojit Sircar’s ‘Sardar Udham’ is a gripping take on the life of freedom fighter and revolutionary, Sadar Udham Singh. The biographical film spans across a timeline of Singh’s life presented in a style that jumps across periods of his life in a non-chronological style. The film shows Singh growing up in an orphanage and working in a textile mill as a young 20-year-old to his days as part of the Indian independence movement, on the run from authorities. We are then exposed to Singh’s assassination of Michael O’Dwyer – who was behind the massacre that haunted Singh’s being, right from the day the traumatic massacre occurred.

The cinematography and performances of the film greatly complement one another. A particularly visually stunning, yet also eerie scene, sees Singh trudging through a snowy winter landscape, completely isolated and alone. This birds-eye view shot emphasises the greatness of his solitude in this vast space. This shot feels like a representation of Singh’s journey for justice for those killed on April 15th, as despite very little companionship and help, Singh is mostly a lone fighter. Throughout the film, Vicky Kaushal displays a fantastic performance of Singh as an individual consumed and engulfed by the pain caused by the massacre of his loved ones, as well as the collective agony felt of the struggles imposed upon the Indian people. He is shrouded in mystery, but his attachment to his cause is greatly felt as his motives are revealed. Sircar’s presentation of Singh is contrary to what many may assume of a typical freedom fighter, as he doesn’t have a large following and isn’t seen to possess a charismatic or charming personality.  Perhaps this is why his story isn’t famously taught or spoken about. However, Singh does not lack the relentlessness or inexorability of what one would consider a freedom fighter, as he is ready for any consequences his actions will bestow.

Right from the beginning to the end, as well as being engrossing, the film was also an emotionally depleting watch for me. One of the most graphic and heart-wrenching scenes occurs where we see the portrayal of the massacre, seeing the images of an abundance of helpless blood-stained bodies scattered amongst the place, putting into perspective the height of the incident, and it left my heart heavy hours after finishing the film. The poignant atmosphere of the film is needed to accurately present the impacts of the horrors of colonialism and the relationship between England and India. It is essential viewing, presenting a face of the Indian independence movement that derives from the images of pacifism that I and many others have been taught to associate with the fight for Indian independence. It is quite a shame that the Indian jury rejected the Oscar nomination of Sardar Udham, as more traction for the film would have been a perfect way to educate thousands on a forgotten part of history.

Sicar’s portrayal of the life of Sardar Udham Singh is a raw, real and haunting story of an unsung martyr that needs to be heard.

Sardar Udham is available to watch now on Amazon Prime here: https://www.amazon.com/gp/video/detail/B09J21ZP88/ref=atv_dp_share_cu_r

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.

Foot notes-additional context:

The movie traces the journey of Indian freedom fighter Udham Singh, who travels to London and assassinates Sir Michael O’Dwyer, the former lieutenant governor of the Punjab in India, on 13 March 1940 – he was the man responsible for the massacre of over a thousand innocent Indians including women and children in the Jallianwala Bagh Massacre of 1919* (see further details below). 

Udham Singh’s act of revenge was a significant moment leading to India’s independence from British Imperialism in 1947. 

Udham Singh was subsequently remanded in custody at Brixton Prison, tried and convicted of murder and hanged in July 1940.

Britain never formally apologised for the massacre but expressed “regret” in 2019. Here are some instances where former Prime Ministers David Cameron and Theresa May have spoken about the incident. 

*Background information on the Massacre at Jallianwala Bagh

The Jallianwala Bagh massacre, also known as the Amritsar massacre, took place on 13 April 1919. A large but peaceful crowd had gathered at the Jallianwala Bagh in Amritsar, Punjab to protest against the arrest of pro-Indian independence leaders Dr. Saifuddin Kitchlew and Dr. Satya Pal. In response to the public gathering, the British Brigadier-General R. E. H. Dyer surrounded the Bagh with his soldiers. The Jallianwala Bagh could only be exited on one side, as its other three sides were enclosed by buildings. After blocking the exit with his troops, he ordered them to shoot at the crowd, continuing to fire even as protestors tried to flee. The troops kept on firing until their ammunition was exhausted. Estimates of those killed vary between 391 and 1000+ people and over 1,200 other people were injured of whom 192 were seriously injured.

Responses polarized both the British and Indian peoples. Eminent author Rudyard Kipling declared at the time that Dyer “did his duty as he saw it”. 

This incident shocked Rabindranath Tagore (the first Indian and Asian Nobel laureate) to such an extent that he renounced his knighthood and stated that “such mass murderers aren’t worthy of giving any title to anyone”

The level of casual brutality, and lack of any accountability, stunned the entire nation, resulting in a wrenching loss of faith of the general Indian public in the intentions of the UK.

Britain never formally apologised for the massacre but expressed “regret” in 2019.

 

Agatha Christie’s ‘Witness for Prosecution’ – Review

Have you always been secretly convinced that you have what it takes to be a judge? Here is your chance to find out (and probably be proven wrong) with Lucy Bailey’s new adaptation of Agatha Christie’s ‘Witness for Prosecution’ at London County Hall, South Bank. The story is a rollercoaster that will constantly keep you on the edge of your seat, which is highly due to the immersive aspect of the setting.  London County Hall is a historically charged and architecturally remarkable place that adds a lot of gravitas to the play. The public is therefore actively invested in what happens on stage, although nothing can prepare you for the final twist. In true Agatha Christie fashion, it will take everyone by surprise and put the audience in a state of genuine shock!

The story follows Leonard Vole, a genuine and simple-minded man, who has been accused of murdering his lover Emily French, a wealthy middle-aged woman, to inherit her money. We follow the evolution of his trial, punctuated with new witnesses and clues, dramatic revelations and different settings. The barrister Sir Wilfred Robarts does his best to convince the audience and the jury of Leonard’s innocence, despite Leonard’s seemingly hostile German wife, Romaine. Be careful who you trust, as nothing is as it seems and the roles switch constantly throughout the story.

The play is based on a short story by Agatha Christie and was published as “Traitor Hands” in a magazine in 1925, and has since been adapted to stage, television and film – the 1957 film adaptation starring the iconic Marlene Dietrich as Romaine and Tyrone Power as Leonard is highly recommended. The story was very successful despite being quite different from Christie’s usual work: in addition to not starring any of her iconic characters such as Miss Marple or Hercule Poirot.

The main appeal of the play is getting the audience exactly where it wants to, especially through the use of sympathetic characters and unreliable narrators. While the actors are being tried in court within the plot, the audience is engaged in playing the role of the jury. This plunges you into a sort of metatheatre that blurs the border between fiction and reality. These charming anti-heroes who are able to manipulate the public are particularly popular with audiences, as they represent a form of mystery and ambiguity that tends to arouse our curiosity.

This play can be seen as a reference to the trial of Ted Bundy in recent times, where the audience can’t help but love the charismatic and handsome young man ignoring the atrocities he is being accused of.

The pace of the play is quite unusual for a Christie story: the story starts in the middle of the drama and works through flashbacks and character narration instead of progressing linearly through time. Furthermore, the final verdict of the jury is far from being the end of the play, as it causes a succession of new drastic events and revelations. The director of the play Lucy Bailey, along with her cast has brilliantly worked on keeping this method of storytelling fluid by seamlessly oscillating between the past and the present without losing its dynamic pace.

The setting, costumes, performance, score, and dramatic tone can be closely compared to what you would find in a Greek tragedy and are executed flawlessly. Do get your tickets at https://www.witnesscountyhall.com

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.

Brief Encounter – A play that moved me to tears

Noël Coward’s film script Brief Encounter (1945), adapted for the stage by Emma Rice and directed by Robert Kirby for the Watermill Theatre in Newbury, touched me in so many different ways that I left the theatre crying and longing for a big hug.

Don’t get me wrong, though… Brief Encounter is not just sad, it’s also joyous, funny and heart-warmingly romantic. It’s an epic love story about how sometimes the love that people feel for one another is just not enough to make it work. Especially, in times when divorce was not socially accepted and falling in love with someone new had so many risks.

For this reason, Laura (Laura Lake Adebisi) and Alec (Callum McIntyre), who are both married to other people, try to avoid and resist each other at first when they meet at a train station and fall in love immediately. The emphasis here, however, is on ‘try’ since their love is too strong to keep them apart and they finally accept what could not be avoided. They spend time together, going to the cinema, having dinner and floating around a pond which deepens their love. But while the couple is happy and on cloud nine, they are also torn inside by their guilt of betrayal and the fact that they can never fully be together. So, to avoid a difficult and turbulent future, Laura and Alec do not pursue their relationship further. But when they kiss goodbye, they pledge never to love again. 

​This ending made me want to scream. I wanted to say that they should just run away with each other, that if they really love each other, they can make it work… but both Laura and Alec are more rational than me and so as they part and the light goes off, I struggle holding back my tears.

Brief Encounter is a heart-touching play with a creative and dynamic set design. The actors seamlessly switch scenes and transform the stage into a completely new place while singing and dancing as part of the choreography. The small cast of seven people consists of incredible actors and musicians with some of them playing multiple roles, singing, dancing or playing instruments within their act. 

The so-called Foley Sound technique, named after Jack Foley, is used to recreate and record the sound of all the actions of the play. There are innumerable real sounds that make you feel present with the characters in the scenes in real-time. For example, when the café owner Myrtle Bagot pours tea for Laura and Alec, the sound is created by using an actual kettle to lend a realistic soundscape to the play. 

A lot of love and creativity was put into the production of Brief Encounter. It is definitely a play worth watching – even though I was heartbroken and ended up sobbing during the 60 miles back from Newbury to London.

Brief Encounter is showing until 13th November at the Watermill Theatre in Newbury. Tickets are available here: https://www.watermill.org.uk/brief_encounter.

Callum McIntyre and Laura Lake Adebisi in Brief Encounter. Photograph: Pamela Raith

Reviewed by Giulia Ciccolella – Giulia is interning with Abundant Art during October and supports the organisation writing reviews and helping with marketing and PR. Giulia is German-Italian and graduated with a BA in Media & Communications with first-class honours from Goldsmiths, University of London. She has been living in the UK for over three years and is excited to explore London’s art scene further while learning more about the work of Abundant Art.

 

An Exploration of Movement – Candoco Dance Company at Sadler Wells Theatre

This Autumn, Candoco dance company finally returns on stage with a double-bill of its signature choreography ‘Set and Reset’, as well as a brand new performance, ‘Last Shelter’. Although very distinct from one another, the two pieces are interconnected by an exploration of space and an instinct-driven action, all within a certain simplicity and style typical of the dance company. The dancers gave their whole hearts and bodies in the performance, which received a well-deserved standing ovation from the public at the end of the show.

Candoco dance company has a tradition of creating its own choreographies, specially adapted to its disabled dancers, who are perfectly integrated into the flow of the choreography. However, ‘Set and Reset’ is an exception to the rule, as it is a recreation by Abigail Yager of Trisha Brown Dance Company’s seminal (1983). The dancers play with visibility and invisibility as they appear and disappear from the scene – the sides of the stage are hidden by long translucid pieces of fabric. This constant movement makes for a very dynamic and compelling performance, punctuated by Laurie Anderson’s rhythmic score, as well as fluid and effortless movements and twirling costumes. The dancers seem to perform individually with elements of improvisation, which makes the dance seem like unchoreographed research for pure freedom in movement. However, the dancers sometimes interact with one another by lifting or falling in the arms of one another, proving that their dance is, in fact, choreographed with extreme precision.

‘Last Shelter’ is, in contrast, a world premiere by choreographer Jeanine During. In an extremely quiet setting, that grows louder and louder with a series of sounds (score by Tian Rotteveel), the dancers set up chairs, a table, a mat and a microphone. They then spend the whole performance reassembling these objects in various configurations in different parts of the stage. This was an interesting concept that caught the audience off-guard, as no one was sure if the dance had started yet or if they were just watching the dancers set up their stage. This unconventional piece offers a reflection on the adaptation to ever-changing environments, punctuated by small poetic monologues muttered by each dancer in the microphone. The dancers perform as one collective will, as they improvise on their assemblage with precise and decisive movements.

According to artistic director Charlotte Darbyshire, this double bill is a quest for freedom and connection. The diversity of each simultaneous dance gives the spectator the freedom of either watching the performance as a collective dance or of focusing on a single dancer and observing their singular evolution throughout the dance. In both cases, the eye misses some of what happens on stage, as it can’t absorb all the different information that is being presented to it. Therefore, the space of the stage is expanded even more, as there is always be something happening outside of our tunnel of vision. This dance is a study of the body, abled or disabled, that explores space and freedom of movement, accompanied by amazing musical scores. Keep up to date on Candoco dance company’s latest events here https://candoco.co.uk, where you can also access interviews with the performers and choreographers of the piece.

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.



Arrival – Royal Docks Festival Review

An immersive and community-led show,  ‘Arrival’ was co-created by 2012 Paralympic set designer Jon Bausor and West End director Matthew Dunster from Lily Allen’s recent production 2:22 A Ghost Story. As part of this year’s Royal Docks Festival, the theatrical show was different from what I expected and it opened my eyes to other ways of experiencing theatre. 

Headphones were provided when we arrived and the show started with an outdoor dance performance by young local people from Newham. After this performance, the journey continued, and we followed our guide through the dark streets of Silvertown in London. I enjoyed this part the most since I was able to explore a new area while listening to historical accounts from residents who lived there in the 1990s. Part three was similar, but suddenly we went from being in the 1990s to a wartime party in the 1940s. It was interesting to see the performers dancing and partying on top of cars before the chilling air raid sirens sound appeared. Then, in a flash, we were guided to the next section of the performance while listening to an interview with a survivor of the Beirut Blast that happened in August 2020.

Sitting in front of the abandoned, spooky Millennium Mills fabric, all groups were brought back together to watch another performance by various actors representing different stages of life (e.g. a wedding, a yoga class, a day at work). All of this was accompanied by a DJ set and sound effects, giving the viewer room to interpret and digest the information of the previous and current parts of the performance and see how they all worked together. This part of the show ended with a surprise appearance of Little Amal – a 3.5m high puppet by theatre group Good Chance who walked through Europe representing a Syrian girl finding refuge in Europe. This added to the meaning of the theme and the name of the show ‘Arrival’.

For the final part of the performance, we walked another ten minutes to the other side of the docks where a short community film was projected onto the walls of the Millennium Mills fabric. This film gave a platform to multiple voices from different ages, abilities and ethnicities of the area. It talked about gentrification, ‘arrival’ in the sense of migration and what the community wants the Royal Docks area to be.

Since the whole show is created by the local community, especially younger residents of Silvertown and the borough of Newham, I felt like I was experiencing the place as a whole – getting to know its history, residents, ambitions and dreams. The appearance of Little Amal, as well as the interview snippets from the Beirut Blast, added an international perspective to the topic of ‘Arrival’ and the local area of Silvertown/ Newham (which used to be London’s gateway to world trade and hence migration) re-emerged as a place of global significance. I enjoyed my time at the Royal Docks and the show gave me a lot to think about. 

For more information, please visit the Royal Docks website here: https://www.royaldocks.london/whats-on/arrival 

Reviewed by Giulia Ciccolella – Giulia is interning with Abundant Art during October and supports the organisation writing reviews and helping with marketing and PR. Giulia is German-Italian and graduated with a BA in Media & Communications with first-class honours from Goldsmiths, University of London. She has been living in the UK for over three years and is excited to explore London’s art scene further while learning more about the work of Abundant Art.

 

Helene Binet – Royal Academy of Arts Review

Hélène Binet’s work, exhibited at the Royal Academy of the Arts, made me look at architecture differently. Through the lens of the Swiss-French photographer, I learned that even construction sites and ordinary buildings can be beautiful and artistic. 

As an advocate of analogue photography, the internationally acclaimed photographer has captured both contemporary and historic architecture for thirty-five years exclusively on film. Spending her most formative years at the Istituto Europea di Design in Rome where she studied photography, Binet is now based in London. 

Working in collaboration with famous architects such as Daniel Libeskind, John Hejduk, Zaha Hadid and more, Binet (born in 1959) captures buildings in different locations around the world and creates photography that stands up on its own. She prefers not to capture entire buildings and focuses on the smaller details like light and form and highlights unexpected perspectives.

I enjoyed exploring her black and white photographs because there was so much to see in each picture. After leaving the exhibition, I wanted to go out and explore the world of architecture around me. I left feeling inspired by Binet’s style of mixing different shapes and lines and showing how they work together with shadow.

Light Lines: The Architectural Photographs of Hélène Binet is at the Royal Academy, London W1, 23-October-23 January

A detail of Zaha Hadid’s MAXXI – Museo Nazionale delle Arti del XXI Secolo, Rome, Italy, 2009 (Digital black-and-white silver-gelatin print, 80 x 102 cm) Courtesy of Ammann // projects. Photograph: © Hélène Binet

Reviewed by Giulia Ciccolella – Giulia is interning with Abundant Art during October and supports the organisation writing reviews and helping with marketing and PR. Giulia is German-Italian and graduated with a BA in Media & Communications with first-class honours from Goldsmiths, University of London. She has been living in the UK for over three years and is excited to explore London’s art scene further while learning more about the work of Abundant Art.

 

Poussin and the Dance – National Gallery Review

Painting movement in art has always been a conundrum for artists and art critics, as it requires instilling an illusion of movement to an art form that is, by nature, motionless. However, ‘France’s greatest painter’, Nicolas Poussin spent his early years perfecting his depictions of dance and movement in paintings through an intense study of Renaissance, ancient art, sketches and wax figurines. The exhibition is currently showing at the beautiful and historical National Gallery and I strongly recommend taking a detour to check out the permanent (and free!) exposition, whose iconic paintings one must see at least once in their life.

Poussin, a key artist of the Baroque movement, was born in Normandy in 1594 and studied in Paris. Despite his very French upbringing, he had always been fascinated by Rome, a city rich in Renaissance and ancient art, which he studied and analysed religiously to reproduce their vibrant colours and perfect proportions. He was mesmerised by ancient artifacts such as ‘The Borghese Vase’ and the beautiful ‘Dancers of Villa Borghese’, which you will find displayed all throughout the exposition. ‘He was a bit of a nerd for Ancient Rome, really’, affectionately jokes the curator of the event.

The exhibition casts a totally new light on the artist, whose Baroque religious and symbolically charged art has given him a certain reputation in art history for being cold and rigid. Although this statement is true for most of his work, these early paintings from his younger years unveil a new side of the painter of joyous and colourful decadence, intricate bodies, twisted movements, nudity and immoral abandon. Interestingly, these paintings were never considered scandalous, and some were even commissioned by the Cardinal of Richelieu. Poussin strategically depicted scenes charged with religious symbols, historical mythological references and Renaissance techniques, which gave his paintings an erudite and cultural aspect that hid the fact that the scenes represented are, in fact, orgies that are far from aligned with Catholic morality.

Another interesting aspect of Poussin’s artwork is his use of wax figurines to study movement, and although he is not the only artist to have used this technique, it is recognised that he used it more than any artist at that time. He moved with extreme fluidity from 3D figurines to 2D sketches, which explains the realism and the seeming elasticity of the bodies and movements in his paintings. The reconstructions of the figurines all throughout the exhibition and the multitude of chalk sketches will give you an interesting insight ‘behind the scenes’ of the paintings exposed.

The paintings are a delight to admire, as the movements of the bodies constitute a studied choreography that will guide your eyes through what is depicted on the canvas as they follow the movement. My personal favourite painting was, with no surprise, ‘A Dance to the music of time’, where Poussin depicts four figures dancing in a circle, representing the cyclicality of life and seasons. I cannot recommend the exposition enough to any lover of Poussin, Renaissance and mythology, or simply to anyone who appreciates beauty in art.

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.

 

 

 

 

Dance Umbrella Festival 2021 at Waterman’s Art Centre Review

This October, the Dance Umbrella company presented Dance Umbrella Festival 2021, a hybrid event combining online events and in-person shows from a range of international talented artists, performed in different venues in London.  It epitomised how the art world has managed to adapt and overcome the challenges of the global pandemic, which seemed insurmountable just a few months ago.

Produced by Rob Jones, the festival celebrates modern dance and diversity whilst nurturing a mentality of growth, innovation and the power of motion. I had the opportunity to watch the double bill performed at the Waterman’s Art Centre, starring Kesha Raithatha in Traces and Dani Harris-Walters in Happy Fathers Day. Both performances are polar opposites both in form and tone, but tell similar stories of internal conflicts, growth and celebrations of the body.

The first performance is a very intimate dance, performed by one single dancer, retelling a personal yet universal story of regeneration and purgation from incidents such as loss and abandonment, which dancer and choreographer Kesha Raithatha drew from her own personal experience. The purpose of the dance is to have the feeling of being told a story, which represents a key element of the traditional Indian Kathak dance. However, Rathatha refuses to be held down by any structure or tradition of dancing as her style is timeless, formless and emancipated from everything. Elements like her layered costume and the light are incorporated in the choreography and she constantly interacts with them. The overall effect is otherworldly and ethereal, as we witness the evolution a body being emancipated from its trauma to gain a state of weightlessness and peace.

We are then pulled out of this reflective dimension by a drastic change of tone with Danni Harris-Walter’s performance in Happy Father’s Day. As for Raithatha’s dance, it is almost impossible to pin down the genre of the piece: the story is told through a fluid succession of stand-up, sketches, oral narration, hip-hop and rap. This patchwork of genres allows for an energetic and humorous performance that retraces the story of young spermatozoa, from birth to his fusion with an ovule. Described by Harris-Walters as “the unconventional lesson of puberty you wish you had in high school”, the story is also an endearing narration of personal growth and self-discovery. For the young performer, the keyword for his show is relatability, not only through humour and references to pop-culture, but also through the expression of universal themes that will speak to anyone in the public.

Look out for next year’s festival at https://www.danceumbrella.co.uk, and keep up to date with Watermans art centre’s program at https://www.watermans.org.uk.

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.