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Lubaina Himid – Tate Modern Review

Tate Modern presents Lubaina Himid’s largest solo exhibition to date, showcasing six new unseen paintings, as well as some of her more prominent work. Across her career, Lubaina Himid’s powerful contemporary art has made its mark in the British Black Arts movement, winning her the Turner Prize in 2017. This colourful, contemporary exhibition is one which not only catches the eye, but leads us to question how the built environment, history, personal relationships and conflict shape our lives.

The whimsical, theatrical nature of this exhibition reflects Himid’s interest in opera and theatre. Each installation draws our attention to everyday moments, each telling its own story. Collectively, they act as starting points for conversation, for taking action and for making changes. Himid’s paintings capture both moments of power and of struggle – from the difficulties of migration to women coming together in solidarity. What I found most fascinating were the vibrant patterns and fashionable designs throughout. Influenced by her mother’s career as a textile designer, Himid’s use of East African kanga textiles is prominent in her paintings. It is a perfect intertwinement of fashion and culture.

A key feature of this exhibition is the use of sound installations, including Blue Grid Test 2020, a collaboration between Lubaina Himid and Magda Stawarska-Beavan. This 25-metre-long painting includes 64 patterns from all over the world, each painted a different shade of blue. Paired with the paintings, the sound installations allow the visitor to immerse themselves into the exhibition and deeply ponder the questions which Himid is asking us.

This vibrant, contemporary exhibition combines politics and culture, asking an important series of questions as you pass through each room. Featuring famous works such as A Fashionable Marriage, and new unseen paintings, this exhibition is one that captivates both the mind and the eyes. The final question reads ‘Do you want to live an easy life?’ – it allows the viewer to reflect upon the exhibition and reminds us of Himid’s message. It is up to us to build a world that fits our own needs.

Book your tickets now at: https://www.tate.org.uk/whats-on/tate-modern/exhibition/lubaina-himid

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.

Jack and the Beanstalk – The Rock ‘n’ Roll Panto at New Wolsey Theatre-Review

The New Wolsey’s Rock ‘n’ Roll shows are well known for their slapstick comedy style, lots of corny jokes,  great music, and interactions with the audience. If you have seen Jack and the Beanstalk when you were young, this is the perfect time to take your children to discover this magical musical. The childhood movie I used to watch has taken a modern turn and is now well anchored into the 21st century. This is a new adaptation full of glitter and modern songs filling our ears and eyes with magic.

The New Wolsey Theatre immerses us into another dimension. Fairy Aubergine with her magic leak invites us to Jack’s world where farm animals dance at the windows and his mother Dame Dolly Durden makes jokes that only the parents will understand. Suddenly, a gigantic giant interrupts the perfect wedding between Jack the farmer and Jill, a wealthy young woman. Jack will have to find a bag of gold to save the love of his life, but how will he manage to do so when the gigantic giant is threatening him? We follow him on his adventure on Earth and then climb with him to reach the giant’s castle in the clouds where he might end up cooking in a pot for dinner.

We are directly involved in Jack’s adventures to save his wedding by singing with him the famous songs we all know and helping him to defend himself in front of his mother. The musical atmosphere is perfectly grasped with multiple sound effects matching the actors playing instruments and dancing on stage. Indeed, the cast for Jack and the Beanstalk is formed of multi-skilled actor-musicians. The Director Kate Golledge uses a screen enabling a smooth narrative transition between the barn and the house of the impressive gigantic giant. We discover a new world in the clouds where giants sing to avoid being the next gigantic giant’s dinner.

This year, the Rock ‘n’ Roll Panto offers the audience a new opportunity to watch the show at home, thanks to a live stream and it works perfectly: the warm atmosphere of the stage reaches our home. The online audience is engaged thanks to the interactions and perfect camera work. From home or at the theatre, every family will discover this magical world in which the beans reach the sky where giants are living.

This magical musical will take you back to your childhood and make you dream with well-known music, jokes and wonderful costumes. It will run until January 8th at Wolsey Theatre in Ipswich. Get your tickets at https://www.wolseytheatre.co.uk/shows/jack-the-beanstalk-2/. 

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.

 

 

Young Associates – Sadlers Wells Review

On the 23 and 24 of November, Sadlers Wells hosted the mixed bill “Young Associates”, which aims to support promising young choreographers in their professional development. It showcased the talents of multiple artists, choreographers, dancers and technicians in four unique and beautifully rendered performances.

The show opened with Magnus Westwell’s “Landscape with Flying Man”, admirably performed by a young trio of male dancers. This haunting piece of slow and twisting motions has the dancers compliment each other in their movements to the point of becoming a unique entity. The show opens and closes with a choreography that creates an illusion of the dancers merging into one man with elongated limbs who appears to be flying. This imagery remains with you long after you have watched the show. The expressions on the men’s faces connote a certain suffering, a melancholy that gives them the allure of fallen angels. This is emphasised by their contrasting black and white costumes (designed by Olubiyi Thomas) and their ethereal movements. The light, designed by Ryan Stafford, is a central element of the choreography as it suddenly explodes into several beams of light that blind the audience and transform the dancers into shadows. Westwell’s creations are often reflections of experiences as a queer and neurodivergent person, yet they hold a universal feeling of euphoria and fragility.

The otherworldly experience of Westwell’s piece is followed by a grounded-in-reality, political dance piece choreographed by Vidya Patel, “When life gives you melons”. It opens with the projection of a video where two voices speak simultaneously in a confusing cacophony: the first is an Indian elderly woman voicing her opinion on the place of women in society with traditionalist and sexist arguments,  subtitled in English. The second is a younger female voice that talks in English about women’s oppression tin society.  As an audience I singled out the younger voice to hear at times and then switched to reading the subtitles to follow the elderly woman’s speech. This is  a thorough reflection on the diverging and clashing opinions on the subject, and focuses on our individual responsibility to choose to listen to the right one. The dance is performed by four South-Asian young dancers and once again combines tradition with modernity in their use of choreographic technique. Its a brilliant  mix of the classical Indian dance style kathak with elements of hip-hop, ballet and contemporary. The undercurrent of  strong story-telling mirrors what you would see in a theatre piece. We see the women getting up and ready to face the world, they are overwhelmed by their household chores, rebelling against their plight in society and finally achieving a state of careless and playful freedom, interrupted by a dramatic scene referring to sexual violence. The piece ends with the dancers forming a procession on a white carpet and exiting the stage to  a voice uttering the chilling words: “Goddesses are prayed to, sometimes, preyed upon.”. The words that resonate with every generation of women until today.

The following dance was Olive Hardy’s “I wonder if you know what I’m talking about”, a title that challenges the viewer to understand the piece and search for its deeper meaning. The trio of dancers on stage engage in a to what would come across as a violent  expression as they are taken by seemingly uncontrollable spasms that they to fight off by screaming for help. This results in a horrifying vision that imposes a strong feeling of uneasiness on the spectators. The approach to movement is particularly creative, as the dancers seem to be inhabited by a frantic force that dominates their movements. It creates an illusion of their bodies being controlled and manipulated by an external invisible force. Hardy’s approach to dance is strongly based on improvisation, as she leaves a lot of room for communication between choreographers and dancers. The performers are free to add their innate language to the choreography, which results in an honest and intimate performance expressing deep personal suffering.

The following piece strongly contrasts with the previous one. John-William Watson’s “This is not a penguin” is a bitter-sweet piece interpreted by a duo of female dancers accompanied by Ethan Aldwinkle’s score. The performers dance to the music of an old song that appears to be playing from the radio that gives an aura of nostalgia and  detachment from time. The two dancers are confined within a square of light that they never cross, and during their choreography they repetitively keep turning in circles around the only two pieces of furniture in what seems to be a remote and decrepit outpost. Their comical and clownesque movements and costumes give the impression of seeing two penguins interact, although the title of the play reminds us that “This is not a penguin”. An expression that mirrors Magritte’s “This is not a pipe” and denotes Watson’s fascination for Surrealism. The dances balance the rational with a deeper surreal message: the two dancers, who form a “Laurel and Hardy” type of comical duo, perform a seemingly simple choreography that holds a deeper feeling of loneliness, cyclicality and imprisonment. An untold sadness hovers over the seemingly mundane piece, which results in a strong effect of uncanniness for the audience. 

The performances presented by Sadler Wells’ Young Associates are innovative and varied and we will hopefully get to see more from these rising young talents on the stages of London. Get your tickets for Sadler Wells’s shows at [https://www.sadlerswells.com/whats-on/](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.

 

Dürer’s Journeys: Travels of a Renaissance Artist Review

‘Human curiosity can be so sated by an excess of all worldly things that it becomes weary of them, with the sole exception of knowing a great deal, of which no one tires.’

AD

Through paintings, drawings, prints, and letters, this exhibition follows Dürer’s travels across Europe. Glimpses of his genius are visible all over his works and it’s evident that he had a hunger for travelling and loved nature and animals. However, Durer wasn’t just an animal artist, he worked in many mediums and his best-known works are his engravings and woodcut prints. His engravings of Adam and Eve, Melencolia and St Jerome in his study, for example, are superbly detailed and I heard one visitor say in the gallery that ‘they get more and more intricate’, which really is the case. His Melencolia 1514 engraving shows his genius at capturing details like the folds in the dress and the human emotional aspect in people.

My favourites were his sketches of animals and landscapes, although I was blown away by the insane detail of his prints and paintings. Creative and endlessly curious, Durer was a hugely imaginative artist and certainly pushed the boundaries. It’s mindboggling to think how extraordinarily talented he was and you can’t help but feel small looking at his work. How could a human hand do what he did?

Dürer lived through extraordinary times; Martin Luther’s radical challenge to the Catholic Church, the discovery of new continents, the spread of the printing press and the widespread anxiety due to the belief that the world would end before 1500. It was Dürer’s curiosity that clearly lit him up and the combination of his great creativity meant that he was able to take advantage of what must have been exciting, if unsettling, times. A bit like now…

His unusual AD monogram is eye-catching amongst all the detail and is a sign of his ingenuity and uniqueness which seems to add to his fame and fortune. No doubt Durer’s travels to Venice and meeting Renaissance artists enhanced his creativity and gave him opportunities to spread his work in other parts of Europe. His appeal seems to be timeless and fascinating to all artists then and now.

The first major UK exhibition of German Renaissance artist Albrecht Dürer in nearly 20 years at the National Gallery is currently on until the end of February. For booking info, click here: https://www.nationalgallery.org.uk/exhibitions/durers-journeys-travels-of-a-renaissance-artist

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

Little Women The Musical – Park Theatre Review

It is finally that time of year when theatre stages are being lit up by countless Christmas shows that will leave you with a warm feeling leaving the theatre. Little Women: The Musical delivers in this aspect by putting on stage the world-famous story of the four March sisters and their heartwarming adventure through early womanhood. The musical directed by Bronagh Lagan is currently showcasing at the Park Theatre, in a small and cheerful venue that will give you the impression of being welcomed in the March’s home from the moment you step inside.

Louisa May Alcott’s 1869 novel is a classic that has shaped generations of young adults with values of kindness, love, brotherhood and acceptance of one’s uniqueness. Everyone who has read the book at a younger age identified with at least one of the four sisters, as they each add a very distinct personality. Loveable but flawed, we watch how they each learn to improve as they enter adulthood. However, the play decides to tell the story from Jo’s point of view and puts the other sisters somewhat in the background, which changes the compelling dynamic of the original material. Yet this decision is beneficial for the structure of the play, which only has to concentrate on a single character rather than being scattered into many subplots for each of the sisters. Furthermore, Joe is the perfect main character for a musical, as her fierceness, eccentricity and talent for storytelling make her an extremely strong lead that carries a lot of the play. This is reinforced by Lydia White’s energy and charisma on stage.

The play starts in 1866 with Joe March (Lydia White) receiving her 22nd rejection letter from a publisher for her story, which she proceeds to read to her mentor, the German professor Bhaer (Ryan Bennett). After he tells her that her writing could be better, she hastily sends him away and starts reminiscing on her memories of her home in Massachusetts. The story jumps three years back and introduces us to the rest of the March household: Meg (Hana Ichijo), the eldest, is a beautiful, graceful and well-mannered young lady, the fittest for the society of the four sisters, who dreams of glamorous balls and meeting her soulmate. Beth (Anastasia Martin) is a quiet, kind and loving girl who loves to play the piano. Amy (Mary Moore) is the youngest child of the family, whose short temper, mannerisms and desire to be at the centre of attention always get in trouble. The matriarch of the household, “Marmee” (Savannah Stevenson), is a loving and wise mother who struggles to deal with the family’s impoverishment and her husband’s absence serving in the American Civil War. We follow the progressive evolution of the girls as they grow older, go to a ball, start meeting suitors and become lifelong friends with their neighbour Laurie (Sev Keoshgerian). These memories, as well as the tragic events to come when Jo is required to go back home, will help her write, in addition to a better story, a new novel titled “Little Women”.

Despite a few time jumps and some plot points being left out, the story is put on stage with great fidelity to the source material. The casting couldn’t have been better, as the four sisters look like they just came out of the pages of the book. Furthermore, the acting and singing performances all deliver, which is essential when it comes to a character-driven story such as this one. The live music composed by Jason Howland and Mindi Dickstein as well as the musical performances of the actors were pleasant and often very energetic without ever being excessively spectacular, always receiving enthusiastic applause from the audience. The set and costume design (Nik Corall) faithfully reflected the ambiance that one would feel whilst reading the book, and the changes of setting and costumes were very creatively done.

Overall, one of the major points of the story is the theme of storytelling: Joe narrates the story to the audience. She struggles writing stories throughout and the conclusion of the play is the writing of her new novel. The fact that we are watching a play based on a book also contributes to the storytelling aspect of the play. The most original parts of the play were the moments where Joe would tell her stories “of blood and guts”, where her characters would appear behind her, mirror her movements and repeat her same lines, as if they were a projection of her that she had complete control of. In the end, her relationship with her sisters is what helps her surpass her writer’s block, serving as a final moral of love and sisterhood to the story.

This cheerful musical tale is a must-see during the holidays that will probably encounter the success it deserves with this first London-based show. It will run weekly until December 19 at Park Theatre. Get your tickets at https://www.parktheatre.co.uk/whats-on/little-women-the-musical. 

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.

 

 

Ghostbusters: Afterlife – Cineworld Greenwich Review

Released on 19th November the silver screen sees the revival of one of the most beloved franchises of the ’80s with Jason Reiman’s new sequel “Ghostbusters: Afterlife”. This modern take on the Ghostbusters movies is a coming-of-age story of a group of kids who learn how to become the new generation of ghost catchers.

The events occur in 2021 when following the mysterious death of Egon Spengler (a former member of the Ghostbusters), his daughter and grandchildren are forced to move into his decadent house in the countryside for financial reasons. Callie, the mother, (Carrie Coon) is a single mother with a sarcastic sense of humour who does her best to keep her head out of the water financially. Trevor (Finn Wolfhard) is your stereotypical awkward moody teenager who tries his best to make friends in the new town, whilst Phoebe (McKenna Grace) is a twelve-year-old genius who quickly picks up an interest in her grandfather’s obscure ghost-chasing business. Along the way, she meets Podcast (Logan Kim), a geeky kid passionate about supernatural events and Gary Grooberson (Paul Rudd), a seismologist intrigued by parapsychology. The movie follows her adventure investigating the mysterious earthquakes that are shaking the town, which results in the discovery of a world-threatening prophecy that must be stopped at all costs.

The film is a light-hearted comedic action story that will charm everyone, from younger audiences to older fans of the original movie. The team of kids has chemistry and the progressive unveiling of the clues left by Phoebe’s grandfather will keep you intrigued until the end. Although being centered around apocalyptical events, the movie maintains a fun and humorous tone that will make the audience chuckle throughout the movie. McKenna Grace’s performance as an emotionless child genius makes her a very lovable and believable main character.

There is no denying it, saying ‘Ghostbusters’ is like saying ’80s nostalgia. The movie is dominated by a retro aesthetic despite being set in 2021, and the trope of a team of children going on an adventure to save the world in their hometown is quite similar to what you would find in 80’s classics such as The Goonies or ET. It also goes without saying that the nostalgia is strongly conveyed through references to the original Ghostbusters movies that go further than a few easter eggs. The main characters spend the movie figuratively and literally chasing the shadow of their grandfather, using the same gadgets of the original Ghostbusters and hinting that they will pick up the mantle of their predecessors. Four beloved characters played by equally beloved actors also make a small appearance that will delight the fans. Despite, its reference to the earlier ‘Ghostbusters’ this movie has an identity of its own with innovative new characters and dynamics as well as a completely different location and plot.

The first part of the movie introduces the Spengler family, who have compelling and very relatable dynamics, such as Trevor‘s typical teenage awkwardness, Phoebe being an outcast because of her intelligence and Callie’s struggles to save the family’s financial situation as a single mum, as well as her struggle dealing with her own father’s absence. This first half of the movie is rather grounded in reality and uncovers supernatural elements little by little, which is why I was surprised by the finale, which becomes an extremely fast-paced and CGI-packed action climax. The mysterious events that the kids were investigating come to light, which leads to confusing action sequences led by a sudden and slightly dull appearing villain, that was hard to follow after a while.

Overall, the movie is a feel-good action story for the whole family to watch during the holidays. Cineworld Greenwich is currently screening the film on Screen X, a 270° film experience that will immerse you into the real essence of the action. Get your tickets at https://www.cineworld.co.uk/cinemas/london-the-o2-greenwich/077#/buy-tickets-by-cinema?in-cinema=077&at=2021-11-23&view-mode=list

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.

 

 

The Eternals -Barbican Film Review

When it comes to the Marvel Cinematic Universe, the franchise has become a classic example of pop culture, with record-breaking box office performances and loving fans of all ages all around the world. After the success of the Russo brothers’ “Avengers: Endgame” and Jon Watt’s “Spiderman: Homecoming”, the franchise has taken a break during Covid, and has recently made a comeback with a list of new movie announcements labeled the “Phase four of Marvel”. One of the most anticipated movies was Chloé Zhao’s “The Eternals”, which has officially been released this Autumn. This movie is quite different from the rest of the franchise, as it adds a dimension of personal drama and existential questioning on top of the typical action and wittiness of Marvel movies.

The story introduces us to the Eternals, a team of 10 superhuman beings created by the makers of the Universe, the Celestials. The Eternals are tasked with the mission of protecting humanity over the centuries from the Deviants, a race of monsters that keep terrorising Earth. Once the Deviants are all finally exterminated in 1521, the Eternals are left on Earth without further instructions, except to not intervene in human affairs. However, when the Deviants sudden reappearance in modern times forces the team to reunite, the Eternal Sersi (Gemma Chan) starts unveiling the truth of their existence and discovers that nothing is as it seems.

Despite having a great number of characters, the film manages to focus on each of the ten heroes and gives them significant depth. Although Sersi might be considered the main character, the other members of the team are all given strong dynamics and struggles. Their personal adventures each lead to different reflections on varied existential topics: Thena (Angelina Jolie) on the importance of memory, Ikaris (Richard Madden) on the struggle to decide what is right, Sprite (Lia McHugh) on the downsides of immortality, Druig (Barry Keoghan) on the value of free will… The movie balances these personal dramas with the bigger-scale epic adventure of the Eternals trying to save the world. However, some character development becomes confused in the third act, as some members of the team such as Kingo (Kumail Nanjiani) and Sprite make some unexpected choices that make little sense plot-wise.

Another important element of the movie is the diversity and inclusivity aspect, which has been heavily marketed by Marvel. The Eternals are far from being the same cookie-cutter white and handsome male superheroes so often seen in movies of this genre, as they have members that are queer, female, disabled, overweight and of varied race and age. Instead of being a mere token for political correctness, this diversity is justified within the narrative and enriches the characters rather than transforming them into two-dimensional stereotypes. This is a great step in superhero movie inclusivity from MCU’s first woman of colour director.

Despite the overall serious and existential tone of the movie, the long-running time flies by thanks to lighter passages of action sequences and banter between the characters. Zhao has a tendency as a filmmaker to shoot on beautiful and vast landscapes, a habit that she doesn’t break in this movie, as most of the scenes are shot on location. The CGI is used relatively little until the final act, giving a much-needed grounded aspect to the story.

Overall, the movie can be considered a philosophical and psychological drama disguised as an epic superhero movie that will delight audiences of all ages. Get your tickets at Barbican cinema at https://www.barbican.org.uk/whats-on/series/new-releases.

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.

 

 

 

 

You Will Die at Twenty – ICA Review

In the backdrop of a small village in Sudan, a boy is born and from the moment of his birth his destiny is already carved into the world – it is prophesied by the village sheikh that he will die at twenty. Whilst Muzamil’s peers indulge in the freedom of their adolescence and the blissful obliviousness surrounding the uncertainties of life, the certainty of his death is what plagues and probes every inch of Muzamil’s life. As a result, he feels ostracised from normal life and is not prepared for adulthood as this is regarded as pointless. He is teased by his peers who nickname him “son of death”, and the paralysing fear of his death causes him to attempt to live a sinless and pure life moulding him into a dull, lifeless individual with very little identity outside what others prophesise for him. ‘You Will Die at Twenty’ is the debut film of Director Amjad Abdu Alaa and is a morbid, bleak coming-of-age film that is centred around topics surrounding religion, family, culture and the adversity that comes with living your life when it is shrouded in death.

“Has sadness become a habit?” asks a village elder to Muzamil’s mother, Sakina, who has an ever-present look of despair and lifelessness etched onto her face. Throughout the film, she only wears black, as if to mourn her son’s impending death. Her life is dedicated to the protection of Muzamil attempting to shield him from the world, encouraging him into a complete dedication to religion and discouraging him away from normal life. His father has left and is yet to return, escaping from living the sorrowful life that Muzamil’s fate has bestowed upon their family. It is quite painful to watch his interactions with his mother, they are emotionless, almost as if she is practicing detachment in order to prepare for when the fateful day comes.

Some of the best scenes of the film come on screen when Muzamil interacts with two characters who do not define him entirely by the Sheikh’s prophecy. One of these characters is Naiema, a girl which Muzamil has grown up around in the village. Mutual feelings are shared between the pair and whilst these feelings are unspoken, the scenes between them emanate a youthful and free energy. As they sit against the visually beautiful backdrop of the Nile, a kiss is briefly shared between them before Muzamil cuts it short, too fearful for things to go any further between them. Ultimately, Muzamil’s fear and apprehension to live his life normally prevents their relationship from blossoming, which was heart-breaking and also quite frustrating to see. The other is Sulaiman, a rebellious older man who is cynical and critical of the village as well as the emptiness of Muzamil’s life due to living in fear of his death.  Sulaiman acts as a father figure to Muzamil providing him with tough love, encouraging him to question his life and take control of his destiny. He also introduces him to the beauty of cinema and art and presents him with an insight to an otherworldly life that exists outside the village with stories from a lifetime of travelling across the world. As the two watch a scene from the film ‘Cairo Station’, Muzamil is transfixed with what he sees – for him cinema presents an obscure, distant world that he will never get to experience and it is his only insight into being able to comprehend a life outside the confinements of the village. Muzamil’s interactions with Sulaiman cause him to question himself and the world around him.

You Will Die at Twenty’ poses the question of whether our futures and fates are really set in stone for us or whether we are the autonomous controllers of our destiny. After his 20th birthday arrives and Muzamil is not dead he decides to escape from the village.  In the final scene of the film, he chases after a carriage that is exiting the village.  He has not died, but the lifeless, soulless individual he once was has. We are left on a cliffhanger. What is next for Muzamil? Actor Mustafa Shehata does a wonderful job playing a despondent young boy, who finally begins to question his life after 19 years of nothingness. It is great to see a Sudanese film gaining worldwide attention and hopefully we can see more of this in the future. 

Book tickets to watch the film at the ICA here:  https://www.ica.art/films/you-will-die-at-20

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.

 

 

Review: Fabergé in London: Romance to Revolution

This dazzling exhibition at the V&A showcases the breathtakingly elegant work of the legendary Russian jeweler, Peter Carl Fabergé. Most famously known as the Romanovs’ personal goldsmith, this exhibition uses over 200 objects to delve deep into the work of Fabergé within and beyond Russia, admiring his excellent craftmanship. Fabergé in London celebrates the fact that London was the location of his only overseas branch and takes us on a journey through Carl Fabergé’s career. The exhibition is carefully planned out: as we move through the rooms, we uncover another layer of Fabergé’s work, before reaching the grand finale, which is the Imperial Easter Eggs.

The Romanovs were well-known for their extravagance; gift-giving played a significant role in their relationships. Fabergé’s intimate gifts perfectly represent an Empire marked by sex, jewels, and death. The first section of the exhibition explores the significance of Fabergé’s crafts in the Romanov family. From tiaras to trinket boxes, we begin to sense a flash of brilliance created by Fabergé’s work. We embark upon the intricate methods, such as enameling, and the precious materials used in Fabergé’s work.

The exhibition then moves on to Fabergé’s work outside of Russia. The London branch acted as a luxury retail destination for wealthy domestic and international clientele. Exchanging gifts was an important ritual in Edwardian society; Fabergé’s creations were desired by the elite as they were appreciated for their bespoke designs, rather than their value. Each item in this exhibition carries its own story, creating a real sense of intimacy and fascination.

The final room of the exhibition contains 15 Imperial Easter Eggs, many of which have never been seen in Britain – this is the largest collection of eggs to be exhibited in a generation. Each one so intricately designed and beautifully crafted, it is impossible to not be utterly stunned by the work of Fabergé. The Moscow Kremlin Egg is most definitely one which stood out to the eye.

Fabergé in London is a shining example of Russian craftsmanship and history. This exhibition is one that does not fail to amaze the eye, whilst telling a story of romance and revolution. I would highly recommend everyone to view this exhibition whilst they have the chance!

Get your tickets at: https://www.vam.ac.uk/exhibitions/faberge

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.

‘Get Up, Stand Up! The Bob Marley Musical – Review

A powerful, vibrant performance from Arinzé Kene, starring as Bob Marley, loudly celebrating the singer’s brilliance. Get Up, Stand Up! The Bob Marley Musical currently showing at London’s Lyric Theatre is a new, exuberant production which should not be missed!

As we watch Marley’s life unfold, from a small boy in Trench Town, Jamaica, to an international superstar, we witness the power that music held during both his struggles and successes. Jammin’ to classics like ‘Three Little Birds’, ‘Is this Love’, and ‘Stir It Up’, you truly start to feel Marley’s spirit and the joy that his music continues to bring.

What I enjoyed most about the production is that, whilst creating a wonderfully positive atmosphere, it also explored reggae music in a much deeper sense. We see that his music is rooted within politics and Rastafarianism as it is described as ‘spiritual, rebel music’. Throughout the musical, there are references to Haile Selassie, Marcus Garvey and colonialism – shedding light upon the struggles and philosophies within Marley’s music.

The production is one filled with emotion. Each song is performed with a real passion that does not fail to captivate the audience, not to mention the exceptional vocals throughout. There is a perfect balance between the music and story-telling, the most notable storyline being of his love affairs. The connection between Arinzé Kene and Gabrielle Brooks (playing Rita Marley) created scenes which were undeniably captivating and moved the audience.

The sets were kept simple, allowing us to focus on the costumes, choreography and music – all of which were sensational. It also emphasised the simplicity which remained constant in Marley’s life despite his fame. There were amazing theatrics, an engaging storyline and infectious music – it was brilliant.

Not only is this an exceptional performance, but it is also an important cultural event which I would urge everyone to go and see! It is an iconic tribute to Bob Marley, celebrating 36 passionate years of his life and lasting legacy.

Get your tickets now at: https://getupstandupthemusical.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.