This September, the Barbican Centre hosts the celebratory works of Isamu Noguchi, the renowned Japanese American artist who boldly thrust sculpture art into the public sphere. We admire the diversity of his work and his life whilst grappling with the fundamental question; what position should sculpt art take in public life, and what can art tell us about our humanity? The Barbican Centre was extremely accommodating, hauling a plethora of Noguchi’s work across two floors, and arranging the works chronologically and by genre (no easy feat considering the variety of Noguchi’s work). “Kaleidoscopic” is the word that comes to mind when understanding Noguchi’s work, and the Barbican Centre offers an open clockwise setup of twelve displays for observers to appreciate such diversity.

Born in 1904, raised in Japan, and being of dual heritage (a Japanese mother but an American father) Noguchi’s sculpture uniquely tackles cultural duality. The relations between America and Japan in the mid-late 20^th century were both tumultuous and tragic, contrastingly Noguchi’s work is not tribalistic but expansive, reflecting the time he had spent traveling around the world searching for a place of belonging. Judging by his multi-thematic sculptures on space (both cosmic and abstract), biology, and nature, Noguchi asserts that his “place of belonging” is everywhere. Noguchi refuses to be pinned down by politics or creed but embraces life itself. Pertinent examples include Miss Expanding Universe (1932), Mitosis, (1962) and Skin and Bones (1950), all of which are wildly different compositions of a similar theme: our interlocking humanity and our potential to expand into the universe.

Early on, Noguchi was educated at the Leonardo da Vinci Art School in New York and launched his career making portrait heads (bronze masks and busts are scattered throughout the exhibition). A brief stint at Paris on a fellowship saw him transition to abstract carving. Between 1928-1931: Beijing, Tokyo, Moscow, and London were some of the destinations that Noguchi ventured to during his quest for self-discovery. Knowing oneself was incredibly poignant for Noguchi, being a Nisei (American of Japanese heritage) meant coming to terms with two wildly different cultures and Noguchi settled on looking at the world in a new way: through his legs.

“When an artist stops being a child, he stops being an artist” – Isamu Noguchi

One of Noguchi’s most famous works forces us to shed all paradigms when envisaging the world around us. Boy Looking through Legs (1933), is a self-portrait of a child gazing at the world upside down. It seemed 1933 was a watershed moment for Noguchi as his bold insertion of sculpting art into the public sphere began. A series of playground-inspired artwork frolic with the idea of space as a volume, this work went largely unrealised but shows Noguchi’s earlier attempts to boldly “break out of the categories of sculpture”.

Upon entering these art displays, I often found myself contorting my neck or squatting more often than accustomed to. Much of Noguchi’s work is very Japanese, that is low to the ground, but intensely American and with a focus on the industrial and the astronomical (see Sculpture to be Seen from Mars, 1947). I later found that he often took inspiration from Japanese gardens in observatories, specifically the grounding effects rocks have on us as humans.

Ultimately, this is an exhibition of one man’s life and his eternal search for belonging. Suffice to say, the work of Isamu Noguchi is not entirely inward-looking or pacifistic. His views on war and the tragedies of Hiroshima are worth admiring, and the Barbican Centre goes all out on Noguchi’s innovative luminescent displays which – depending on where you look – create a new picture every time round.

For more information, please visit the Barbican website here: https://www.barbican.org.uk/whats-on/2021/event/noguchi

Reviewed by Mohammed Abdillahi – Mohammed is a volunteer writer for Abundant Art. Currently completing a History Master’s at QMUL, his passion for global history allows him to appreciate art as valuable remnants of the past.

The Place hosted A Festival of Korean Dance, a physically extreme world-premiere double-bill show, Equilibrium, and Zero, by the acclaimed South Korean Company SIGA.

The credo of the company: to follow an ideal of collectivity, and to use dance as a tool to communicate and connect with the lives of the people around us. It is with this philosophy in mind that they craft their choreography, shaped by the ideas of every single member of the team of dancers and choreographers. A patchwork of ideas that gives birth to an innovative and collective project.

The three keywords of the company are “Speed”, “Basic” and “Body”, which are visible, and the vibes are felt loud and clear throughout.  They aim for a certain “basic” simplicity, with plain black costumes, an empty stage, and a small group of dancers. This leads to closeness between the dancers and their spectator exploring the concept of collectivity. Nonetheless, the show is strong and spectacular, as the ideas of “speed” and “body” result in fast, tenacious, and physically demanding performances. At the end of the performance the dancers were flaming fireballs-their bodies pushed to their human limits through the choreographies.

One cannot go without mentioning the music (Bluechan) and light (Yujin HONG) which essentially enhanced a minimalist scene. The expert use of light and surreal rhythmic music transported the audience to an infinite and otherworldly non-space without corners, where the only thing the eye perceives are the dancers on stage.

The first choreography, Equilibrium, is a duet between dancers Hyuk KWON and Jaeyoung LEE, who is also the choreographer, exploring the ideas of balance and chaos. The dance is an alternation of still moments without music or lighting, where the dancers perform slower, almost insecure movements, and seem to discover their own and the other’s body. These moments are interrupted by explosions of music and light, and the choreography becomes a fast-paced duet where the dancers complete each other’s movements and perform almost as one unique entity. During the post-show Q&A (yes, if you stick around after the show, you can participate in a translated and BSL interpreted interview) – Jaeyoung LEE explained that the dance revolved around the idea of chaos, which is, for obvious reasons, quite difficult to choreograph. Improvised sections lent a non-induced, naturally chaotic feel to their movements.

The second choreography, Zero, is a six-dancer piece with an interesting and original concept: the dancers jump and swing their arms on stage to the constant rhythm of music, as if they were running. They repeat this same move over and over with their back to the audience and the effect is simply captivating, enhanced by the magical play of light design.  Choreographer Hyuk KWON, who also performed in Equilibrium, affirmed that he wanted to explore physicality and human limits, and kept the dancers facing away from the audience. His idea is to concentrate on their bodies and their physical effort rather than their facial expressions.

The young talents of SIGA have way to go performing internationally, conquering the scenes and hearts of London and a global audience. Their message of collectivity and unity is a hopeful promise that needs to be shared today more than ever.

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.

Right now, I don’t think I’ve ever been more drawn to bright colours in my whole life. Anything but that grey please! If you’re in need of some colour therapy and are a fan of Lewis Carrol’s Alice books (I used to listen to the story on cassette tape repeatedly when I was a kid), I’d recommend checking out the Victoria and Albert Museum’s Alice – Curiouser and Curiouser exhibition. This, I guarantee, is a rabbit hole worth diving into, not one with dark and depressing theories on the web. It’s big, it’s bright and it’s very colourful. Just what we need to bring some sunshine into our scattered lives.

Exploring its origins, adaptations and reinventions over 157 years, this immersive and theatrical show charts the evolution of Alice’s Adventures in Wonderland from manuscript to a global phenomenon beloved by children and adults alike. Quite the cultural and style icon, Alice has made a strong impact across art forms. Spanning art, film, performance, fashion, and photography, this exhibition brings scenes from the books to life, like the Mad Hatter’s tea party and the hall of mirrors – both visual delights. It shows us the grip that Alice has had on our imaginations and on creatives, what with the costumes and dresses inspired by Carroll.

This exhibition has many intriguing and fascinating elements which bring in contributions from the subconscious and the horizons beyond everyday art.

One of the most surprising and enjoyable exhibits is “The Infinity Dress and Omniverse Sculpture”. The collaboration between fashion designer Iris van Herpen and sculptor Anthony Howe explores and incorporates the kinetic dimensions of physics and design and makes one aware of the wonders of the art meeting science or vice versa.

https://www.vam.ac.uk/articles/the-infinity-dress-by-iris-van-herpen

I didn’t realise just how much Lewis Carroll’s stories have inspired the most creative minds over 150 years!

Get tickets here: https://www.vam.ac.uk/exhibitions/alice-curiouser-and-curiouser

Reviewed by Julia Nelson, a member of the Abundant Art Team, leading our PR and generously contributing to our ‘Reviews’!

Breakin’ Convention presents “The Ruggeds,” an energetic  team of B-boys from Eindhoven, Netherlands – talented and heart-warming performers who befriends the audience and invites them into their home. They present an eclectic mix of breaking, acrobatics, music and humour through a story of urban living!

The curtains part to reveal an inviting shared interior space. An imaginatively designed set showcases multi-storeyed urban living. A comfy lounge with a television playing on, a study with stacks of books and a desk with a laptop placed next to a low reading light. A cosy loft bedroom. All split is different levels set in square boxes on the stage. These are framed in a metallic structure that are handy for the boys to climb up and down, doing their agile acrobatics and summersaults when they are not in the mood to use the conventional ladder conveniently placed.

Youths stream out of their loft bedrooms and TV lounge to loiter in shared spaces gradually transforming their movement into energetic and unusual dance moves. They are fun, crazy, athletic, brimming with infectious energy.

Interactions between the dancers are layered with dynamic breaking to alternating foot tapping and lyrical music. Weaved through innovative segments with a strong undercurrent of social messages “Between Us” also hints at the dichotomies and struggles of modern day living. In a sequence we see them turn into lifeless mannequins falling side to side and back to front, taking turns- some fall while others save, not once touching the floor leaving the audience on the edge of their seats gasping for air-in case there is a miss, one might disintegrate into pieces. Perhaps they mimic the lifeless mindless automatons that we have become in our pursuit of material goals.

Another sequence about plastic and littering sends a strong message about the environment.

The sequence where the entire group of dancers are hypnotised by the TV is thought provoking

There is a strong comic element to their acts which triggers laughter especially from the young audiences

Amidst solid dance routines, they trick each other through a variety of interesting dance choreography. There is friendly banter, innovative tricks and leg pulling which suddenly transform to stunning acrobatic moves

While they are in their zone, they do not, for once forget their audience-between sequences they exchange meaningful glances, an inclusive experience throughout. They make the audience join in through claps and clicks – and this is how the show actually begins. When the audience are settling in, a hand up to the elbow peers out through the split of the curtain and clicks, developing in a rhythm that the audience catches in. From there you are straight in it and part of it. There were giggles rolling around the house, particularly from the young audience who were thrilled at the tricks from the beginning through the 1 hour and fifteen minutes that the Ruggeds thoroughly entertain their audience.

Out and out entertaining, The Ruggeds have packaged breaking in an innovative action-packed superb dance show that has a story to tell and appeals to both young and old! True to its mission ‘Breakin’ Convention Presents’ is transforming hip-hop and breaking culture to a theatrical form by presenting imaginative and vibrant hip-hop performers from around the globe.

Running at the Peacock Theatre until Saturday 18^th September-It is a thrilling experience and a great way to go back to live performances for those that are planning on something for the weekend!!

Reviewed by Protima Chatterjee

‘My work is not a matter of direct translations, but something is bound to creep into your head or heart.’ HELEN FRANKENTHALER

Celebrating printmaking pioneer and fearless artist, Helen Frankenthaler (1928-2011), the Dulwich Picture Gallery proudly opens ‘Radical Beauty’ today-The first major UK exhibition of Frankenthaler’s 36 woodcuts. It is an honour to witness the ethereal quality of her abstract paintings that feel spontaneous and ambiguous and span 36 years. On special loan from the Helen Frankenthaler Foundation in New York, the exhibition shows how Frankenthaler challenged the parameters of woodcut printmaking to produce painterly prints that gave new life to the medium and encouraged artists both in the past and now to be open to new possibilities. No rules were her guiding mantra throughout her 60-year career- hence her no rules attitude, and the experimental nature of her work made her see each print as a new adventure. Collaboration in the print workshops was also pivotal in energising her creativity.

Frankenthaler was one of the most important Abstract Expressionists out there known for the spontaneity of her style. This exhibition of her woodcuts is calming yet empowering, reminding us of what it means to be artistically free. Let’s just say she changed the face of printmaking.

http://www.dulwichpicturegallery.org.uk

Gallery Opening Hours
Wednesday–Sunday, 10am–5pm. Closed Mondays & Tuesdays except Bank Holidays.

Reviewed by Julia Nelson, a member of the Abundant Art Team, leading our PR and generously contributing to our ‘Reviews’!

We’d like to name each and everybody from the cast of ‘Cabaret Macabre’, but we’d need another page! Instead, know that we thought each of the young performers brought something worthy of a show in themselves, conveying sophistication and ownership in their deliveries. We implore the cast to continue trusting in themselves as artists, as people and as a collective ensemble. Know that bringing yourself to your acting is always enough. As long as you’re enjoying being on stage, all your hard work and technique will shine through (which it did). So strive to have fun and be proud!

It’s engaging to see a confidence that surely has been nurtured by working professionals at ‘The British Youth Theatre’ (personally speaking, being an actor, drama school certainly helped me!). A great credit to Joseph Atkins (writer and composer) and Jessica Walker (writer and director), for their ability to create and elevate ‘Cabaret Macabre’. 

The show presents us with resplendent bursts of cabaret, focusing on women of the last seven centuries to date and the injustice they face. The show fittingly uses ‘macabre humour’, with singing descriptions painting the unfortunate early deaths of icons such as Joan of Arc, Queen Marie Antoinette, Marilyn Monroe and Mata Hari. Interspliced with monologue accounts from everyday women who are victims of violence, the historical tapestry is ranged, and reminds us that injustice is current. Having ‘Black Lives Matter’ interweaved it re-enforces the strive for equality.

Befitting to the Cabaret style  of the show celebrates the characters portrayed for who they are. Held In Joan’s bar, Joan herself introduces the evenings entertainment. Humour is carefully interspersed with her character expressing her need to land her big number, yet being pushed aside by the eagerness of the others to perform theirs. (She gets there in the end though, and what a voice indeed!) It provides a technical platform that enables unpredictability for an audience, whilst the cast continue with dynamism. 

For all the wonderful, voices, orchestral playing and impressive tap dancing, we cannot help but go away with thoughts on recent social movements against the harassment and sexual abuse of women. There is the ‘me too’ movement, with #MeToo trending worldwide from 2017. Serving to bring forward sufferers of sexual harassment and abuse. The enormity of the situation is revealed with one in three women being subject to sexual violence according to the ‘World Health Organisation’. Such movements are not formed merely to be historical, and it’s fundamental to continue focussing on the heart of the issue. Art motivates us to do this, by cranking us out of autopilot and empathetically connecting ourselves into the world we live in. There will always be the need for people to intervene, and bravely interlace troubled stories to stand in solidarity. 

It is fantastic to see women empowered with a strong and credible voice in ‘Cabaret Macabre’. May they take this through into their lives and inspire their audiences to do the same!

Written by graduating BA Actor at Drama Studio London Reece David. https://www.spotlight.com/0135-1273-0164

If you blink you might miss Domitius, because it’s only playing at the Conway Hall in Holborn for three nights from 6 August.  The story behind the production is almost as interesting as the premise of this newly penned musical, with a team of young theatre makers who are committed to bringing diverse talent into musical theatre.  

 Fresh ideas leap out from all sides of this production which puts a musical and contemporary spin on the little  known story of Roman Emperor Nero also known as Domitius . Henry Gu Cao, Lux Knightley and Luke McCormick who collectively composed, wrote and produced the show, home in on the darker aspects of Domitius’ rein, which the show revolves around. The scene for this slice of Roman life, is set in style, by the stage management team who use their imagination to conjure up the menace and pomp of the Roman Empire, with simple but effective stage design. 

 For a true- life story full of blood and guts, the plot in itself is a bit on the flimsy side and the show relies heavily on a long list of songs to fill in the gaps left by a sketchy script. In spite of the high jinks promised by the imposing red drapery of the Roman Empire that adorns the stage, the first half floundered.  There’s a bus load of characters – most of them not memorable.  Added to that, the songs lack real punch and the accompanying choreography is  lacklustre. Max Himmelreich ,  as Nero helped to lift the mood of a rather slow first half with an engaging performance,  and his serious singing chops worked well against the 70s/80s rock pop inspired musical score.  

 The thumping tones of the song  Aquila –opened the second half of the show and things just got better from here on in. Pithy  contemporary references were delivered by Max Himmelreich, with real zing, and Judy Blu as Poppaea, added to the dramatic intrigue with a magnetic performance. The musical content in this part of the show felt very “Hamiltonesque,”  with a rap inspired number – The greatest of them all served up in gladiatorial style by David Malcolm as Lucan.   

 Whatever reservations I had in the first half, by the end of the show I felt as if I’d had an entertaining immersive lesson in late Roman history, and all of my earlier comparisons of Domitius with the kids TV show horrible histories disappeared by the time I heard songs like Poppaea and Gratitude and Goodbye. 

 Even though the show is a bit rough around the edges the talented and enthusiastic cast, ably headed by Max Himmelreich give it their all and up the ante in the second half. 

 All in all, what’s not to like about a production team and show that wants to bring much needed diversity to musical theatre, which let’s face it, is seriously low on its melanin count.  

Reviewed by Deborah Lawunmi

Deborah is a London based lawyer and film blogger, currently finishing off her PhD in socio legal studies at Queen Mary University London

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On Thursday night we sat and watched ‘Dracula in Space’, leaning forward, and grinning from ear to ear, feeling freedom in being a part of the world these four generous artists have created along with choreographer, Pix.  With an improvisational edge and a pleasure to play, Ezme Gaze, Bertie Anderson, Mitch McGugan, and Oliver Izod are Bowjangles- classically trained musicians who’ve exploded into theatre. A word of warning whilst reading this, we may have got carried away with the puns…

‘Off the bat’, it has to be said that this is what theatre is all about! ‘Bloody’ brilliant, fun, thoughtful, and enticing. The story quite literally blasts off into space to meet a mysterious benefactor, but there is a rich undertone of warmth and ease from the cast that transports us through topics including the pandemic, sexism, Brexit, all the while never appearing to lecture us. Instead, they pamper us with honest humour and heart (aka Dracula’s most favourite organ). That’s the power that this company brings. Their energy can lift us up as much as they seem to lift themselves, and as long as theatre lifts our spirits then we’ve more head- ‘space’ to connect and deal with aspects in our own lives. Looking around we saw an audience ranging from juniors to the elderly, all smiling and invested. This coming together made us (and I’m sure many others) feel a bit more connected having left the Playground Theatre, which is what we all need lately. A huge thank you to everyone involved.

Bowjangles play their instruments with incredible discipline, and these instruments skilfully double up to become the ship’s control panel, and pretty much anything else they can think of! It’s a joy to watch. Their last performance at the Playground this week is Friday 30^th at 7:30, so book if you want a fun evening!

It was lovely to meet the team- and may we keep a chat going to support each other in the future. Keep having fun and being wonderful Fringe winners! Thank you to The Playground Theatre for continuing the hard work to support artists and get shows on the road!

Written by graduating BA Actor at Drama Studio London Reece David

Christopher Matthews’ ‘My Body’s an Exhibition’, the title inspired by Janet Jackson’s lyrics ‘my body’s an exhibition baby’, presents over 24 works by international performance makers and artists in the form of video, photography, collage, sound, text and live movement installations.  The artists collaborate with the architecture of Sadler’s Wells exploring the role of the space and the spectator, the two elements that are entwined in a performance experience, along with the performer. 

Sadler’s Wells Theatre is transformed into a maze that intimately invites the viewer to experience the potential movements that lie within each one of us. To quote the 20 REMIX (1993-2013) catalogue presented in the show, ‘the movement is always there in my body, in some tissue, in some muscle, somewhere’. 

The visual art installations scattered around the Sadler’s Wells’ space consist of collaged A4 prints of black and white found images, polaroids, tape stick figure drawings, and handwritings on walls and windows. Images of bodies are cut up, glued together, and queered in repetitions. Referencing visual artist Bruce Nauman who constantly plays with the themes of life/death, love/hate, pleasure/pain in his multimedia installations, Amanda Prince-Lubawy’s ‘I heart Bruce Nauman’ (lipstick writings on mirrors), sets the exhibition in the context of established contemporary art practices while maintaining an honest and personal touch of generosity and humour.

The condition of being looked at is constantly investigated in the exhibition, especially in the live durational performances on the theatre stage. In these, there are two dancers on pedestals, looking at one another and moving their bodies correspondingly.  This installation condensed the conception of staging and viewing by outlining the sharp division between the spectators and the performers, who do not look back in the simplicity of raised platforms. It is made apparent that stages can be of many kinds and are usually arbitrary. The spectators are made aware of their own performability in looking, approaching, taking photos, and being taken photos of. 

The exhibition blurs the lines between the performers and spectators  with its immersive set-up. Intimacy and hospitality are deployed as a queer method to challenge the existing barriers in space (To quote Matthews’ writing in the exhibition guide, ‘queer is about openness and relies more on questions than definitions.’) Reading ‘go upstairs sexy sexy’ or ‘this way hun’, viewers are encouraged to explore private and personal spaces that normally reject ‘unauthorised admittance’. Climbing up and down stairwells, pushing buttons that are accompanied with silver DIY posters reading ‘touch me like you mean it’’, navigating through corridors of recorded conversations playing behind closed doors, peeking into dressing rooms of flowing disco ball lights and retro music and showers decorated with celebratory curtains of plastic silver tassels, are intriguingly welcoming. Entering one of the dressing rooms with bouncing colourful lights, staff members are seen dancing to the music. They say the music is too good not to dance to it and get the guests to join in. 

Christopher Mathews engages his audience in an interactive and immersive experience, pushing the boundaries of conventional presentation- an exploration that inspires dialogue between performing bodies and their audience in relation to the space that brings them together!

Review by Yifan He

Yifan He is an artist based in London, volunteering for Abundant Art as their arts reviewer. Yifan is doing a MA at The Slade School of Fine Art UCL and is a Shades of Noir Phase six content developer graduate

Image Credit: Camilla Greenwell