This fall, the National Theatre is hosting the revival of Larry Kramer’s famous gay-activist play ‘The Normal heart’. Written as a pure cry of rage in 1985 during the AIDS crisis, the play embodies the fear, anger, and uncertainty of the gay communities of New York that saw themselves targeted by a terrifying unknown virus, whilst being ignored by the media and the general public. This politically charged story of how writer and activist Ned Weeks (Ben Daniels) tries to raise awareness on the mysterious virus transforms into a heart-wrecking personal drama when his lover, Felix Turner (Dino Fetscher), catches the illness.

The story is punctuated by an intense sense of urgency, as the constant reminders of Doctor Emma Brookner (Liz Carr) keep us updated on the number of deaths throughout the timeline of the play, giving an almost apocalyptical aspect to the situation. Ned’s exasperated outbursts also add to the imperativeness of his cause, and the play is punctuated by his long and passionate tirades. The furious hot-headedness of the protagonist can be perceived as an annoying trait that doesn’t profit the plot or bring much debate to the table, as any attempt at a two-sided conversation with any other character is impossible. The personal drama that Ned goes through as well as the intimacy that he shares with his boyfriend resonated far better with the audience than most of the yelling, and in many instances, in the silence following the end of a scene, one could hear many echoes of muffled sobs throughout the room.

The long-awaited revival of the play could not have come at a better time, as the theme of the fear of an unknown virus touches some unpleasant familiar cords. Although being extremely loyal to the original script, the modern adaptation contains some changes from the original. It makes the interesting choice of not dimming the lights once a scene is over so that we get to see the actors break character and run around once their scene is done, as well as setting the date and location of each scene by making the actors announce them out loud before they start saying their lines. This modern version is also an admirable example of good representation as it possesses a very diverse cast, such as actual queer and disabled actors, who sadly are still underrepresented today when it comes to performative arts.

The play starts with the characters lighting a small flame that will burn throughout the whole play, echoing W.H. Auden’s poem “September 1, 1939” about World War II, where it is claimed that one must “show an affirming flame” during a disaster. The whole play is animated by this spirit of fighting, of seeking justice, of yelling at every corner until we are heard. It doesn’t dwell on self-pity, it doesn’t ask for our sorrow. It wants to fight.

Humour, drama, and politics will move you to the tears in a play that is, without a doubt, a must-watch. Not only does it cast a light on a part of history that is often overlooked, but it also is a story full of humanity and love that will bring together audiences of any background. To once again quote W.H. Auden, “We must either love each other, or we must die”.

The tickets are available until November 6.
https://www.nationaltheatre.org.uk/shows/the-normal-heart.

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.

This year Tate Modern museum has borrowed parts of the artist Rodin’s workshop from the musée d’Orsay for the exclusive exposition “The making of Rodin”. The exhibition offers us a peek of the backstage of the making of some of Rodin’s most famous masterpieces such as The Thinker, Balzac, The Burghers of Calais, and many more. More than just exploring Rodin as an artist, we are invited to discover Rodin the artisan by wandering through his experimentations of clay and plaster as if we were walking through his studio in Paris.

The particularity of Rodin’s method of work comes from his formation as a studio assistant in decorative art, which taught him the serial production of single models and the reworking of each copy. The artist methodically dissects his work by putting his models through fragmentation, repetition, enlargement, multiplication, enlargement, and assembling in a frenetical and creative process. The relationship between artist and spectators is shifted: instead of looking at motionless pieces of art, we get to admire their evolution from model to model and retrace the steps they went through to become the finished masterpieces we know today.

The sculptures are remarkable, as always when it comes to Rodin: the tense muscles of The Thinker, the ghost-like faces of The Burghers of Calais and the angelic figure of The Age of Bronze will leave anyone in a state of pure admirative contemplation. The imperfections of the statues reflect the ruptures and complexities of the human body and refuse the idealised beauty of classical sculpture that Rodin seems to adopt for his usual works. The exposition also delves into the relationship between Rodin and Classicism, as the artist was a keen admirer of Classical culture and an avid collector of ancient artefacts, although some of his improvisations in the studio where he assembled different contrasting pieces in one sculpture don’t go without reminding some aspects of Cubism or Surrealism.

You will also get to admire the fluidity and the movement of some of Rodin’s drawings and sketches, which could be considered artworks of their own.

Moreover, the exposition contains some biographical elements as it retraces the life of the artist as well as the pivotal figures and relationships of his career. You will come across his wife, Rose Beuret, who helped him in his studio and stayed by his side for their whole lives despite the many infidelities of the sculptor; his assistant and lover Camille Claudel, the enigmatic female sculptor victim of her time; and some of his favourite models, such as the aristocrat Helen Von Nostitz and the Japanese actress Ohta Hisa. The relationship between artists and their female models is a controversial topic in art, to which the exposition takes time to allude. If you are interested in digging a little deeper, scan codes are available all along the exhibition where you can listen to the take of current artists on modern themes related to the exposition, such as the role of women in art and the disrupting ways of working artists today.

I would recommend this exposition to anyone interested in sculpture, as the exhibition will give you a precious insight into the process of creation and the mind of an artist, or in this case, a genius.

Get your tickets now at https://www.tate.org.uk/whats-on/tate-modern/exhibition/ey-exhibition-rodin.

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.

If you find yourself visiting the expositions of the lovely Whitechapel Gallery, you will find an article written in 1936 by the Journal “The Phantom” affirming that Surrealism gave audiences of this time a mixed feeling of “bewilderment, amusement, and animosity”. I find no better way to describe the works that are temporarily exposed at the small exposition “Phantoms of Surrealism”.

These “Phantoms of Surrealism” are the hidden female figures of the movement that operated the machinery of Surrealism from behind the scenes, without however receiving as much recognition for their contribution to art as other famous counterparts of the movements. They were the secretaries, the event organisers, the activists but also the artists of the movement, who dared to challenge general views and express their socialist opinions in the troubled political times of the 1930s. Grace Pailthorpe, Stella Snead, Diana Brinton, Sheila Legge, the “phantoms” of this exposition, will no longer be ghosts as they are given a name, a face, and have become full-fleshed human beings in art history. 

The exposition skillfully marries art and politics by bringing together the art pieces of overlooked artists with the pieces of media of the time that expressed their opinions on the controversial performances of the artists. When giving a closer look at the papers, one notices that they seem to humour the bizarre eccentricities of Surrealists, pointing a finger at how young their audience was, calling their performances a “nightmare” and questioning if their work was even art at all. Performers in diving suits and women publicly covering their heads in flowers did not seem to be at the taste of the general public of the time. 

A selection of papers and pictures will bring you back to the 1936 art exhibition in Burlington gardens that regrouped world-famous Surrealist names such as Paul Eluard and Salvador Dali. The Spanish artist amused the audience by delivering the opening speech in a diving suit, to show that the exhibition dove deep into the human mind, and subsequently staying stuck in it when he tried to take it off. 

In the same theme of performative art, Whitechapel Gallery offers an interactive workshop by the renowned artist and activist Yoko Ono. Since her installation was first presented in 1966, she has established herself as a central figure in Conceptual art by working in music, film, writing, and visual art, whilst always fighting for world peace and non-violence. This mix of experimentation in art and activism for peace are the central ideas around which revolves the workshop. 

In the workshop, two white tables are covered in fragments of broken pottery. On the wall, Yoko has written her instructions: “Mend carefully. Think of mending the world at the same time.”. The spectator will be presented glue, tape, and rope, and will be asked to display their mended work on a shelf on the wall. The message of the experience is very interpretative, as all conceptual and performative art is, but the central idea one gets is that the artist calls us to work, with carefulness and creativity, to repair the world from the wounds that have been inflicted by violence. One can only do so by being delicate and gentle, and even then, the repaired piece will never be the same as it was before. Interestingly, none of the repaired pots on the shelves resembles an actual pot, as most people prefer making a personal little sculpture, varying from a flower to a small basket, rather than just giving back the pots their original form. A nice little example of human creativity. 

Yoko Ono’s art and fame are definitely a positive note, a happy ending to the story of the forgotten female figures of Surrealism: feminist history has come a long way, and women have been able to establish themselves in art. The gallery reminds us that the history of women in art is haunted by the ghosts of those who fought so that, one day, women would finally be given a voice to express their creativity and to shout their message to the world.

Whitechapel Gallery hosts this and many more exhibitions, which you can check out for free at https://www.whitechapelgallery.org. 

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

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