I’m sure it will not have escaped your attention that I have just written a blog post about National Theatre Wales’s second year production programme. That blog post was very positive because I do believe that their programme is strong, blending their trademark location-driven productions with more traditional theatre. However, I do have one, rather large, issue with the programme – the large discrepancy between the number of shows staged in South Wales and North Wales.
Of the eight productions that will be staged in Wales - (ignoring therefore The Dark Philosophers stint in Edinburgh) two, The Village Social and the NoFit State production will tour, another, Branches (Working Title) will be staged in the forests of North Wales. The other five, will all be performed in South Wales. A Provincial Life at Sherman Cymru in Cardiff, The Radicalisation of Bradley Manning in Haverfordwest, Little Dogs at the Patti Pavilion in Swansea, In Water I’m Weightless at the Wales Millennium Centre in Cardiff and Coriolan/us at the Dragon Film Studios near Bridgend.
I understand that there could be a number of creative and practical or logistic reasons for this – the company is based in Cardiff, larger population centres in South Wales, critics/ reviewers who are unwilling to venture far from locations on the Paddington – Swansea train route, a larger number of creative professionals/ companies in South Wales, especially Cardiff, larger number of appropriate theatres/ venues in South Wales. Or it could just be that the majority of those who work for, and with, NTW have a better knowledge of South Wales having lived or worked there.
However this problem is not unique to NTW’s second year production programme – their first year programme included thirteen productions, of which four (For Mountain, Sand and Sea – Barmouth, The Beach – Prestatyn, The Dark Philosophers – Wrexham, The Weather Factory – Penygroes) came to North Wales, another (Outdoors – Aberystwyth) was in Mid Wales, whilst the rest (nine –The Dark Philosophers was performed in both Wrexham and Newport) were in South Wales.
I hope that this is merely a teething problem, and that as NTW develops it will not only start to explore the vast swathes of the country untouched by its latest programme, but also consider the geographical distribution of its productions whilst devising its programme. After all, it would be a pity if a large chunk of the population missed out on what NTW has to offer.
Tuesday, 14 June 2011
National Theatre Wales Y2
A couple of weeks ago National Theatre Wales unveiled their second year of productions, and although it’s not quite as ambitious as their first year programme of performing a different show every month, it is nevertheless very interesting.
The company will be staging nine productions, although two of these The Dark Philosophers tour to the Edinburgh Fringe and the NoFit State tour, are in fact revivals from the first year.
I am looking forward to seeing the reaction to NTW’s work in Edinburgh, because it has generally received very favourable reviews on both sides of Offa’s Dyke, and it will therefore be interesting to see what the Edinburgh audience make of it. But perhaps more importantly, because of the vital role played by location, and a production’s relationship with a particular community within NTW’s first year productions, it will be fascinating to see how this works outside of Wales. After all, the production will not have the same relationship with its location as it did when it was performed in Newport and in the old miners’ institute in Rhos, near Wrexham.
I am glad that NoFit State’s production will be going on tour because it was an accomplished and polished show, which will go a long way to showing people the development in “circus theatre”, and that there is a lot more to the circus than merely a marquee in a soggy field. Furthermore, as this was one of the productions with the weakest or least tangible link to its location (Milford Haven) it should travel well. I just hope that NTW and NoFit state will work on the production to strengthen the narrative, and give the show a solid emotional core.
The other seven productions are a mix of location-driven productions such as The Radicalisation of Bradley Manning by Tim Price, which will be staged in Haverfordwest, where Manning attended Tasker Milward school. This production shows a continuation of NTW’s emphasis on location and community, but also indicates a new willingness to deal with, not only the social, but also the political, this is most definitely a good thing.
Little Dogs, inspired by Dylan Thomas, produced in partnership with Frantic Assembly and staged at the Patti Pavilion in Swansea, is another location-driven production. It should be interesting seeing how NTW decide to deal with Dylan Thomas, but is refreshing to see their willingness to put their own stamp on his life and work, rather than merely satisfy themselves with a staging of Under Milk Wood.
The other location driven productions are Coriolan/us based on the works of Shakespeare and Brecht, which will be staged at Dragon Film Studios (Valleywood!) and Branches (Working Title) a new commission from Constanza Macras/ Dorkypark, which is to be performed in the forests of North Wales. Both these productions will take NTW’s work to unusual locations, and it is good to see that they have not lost their flair for seeing possibilities in the most unlikely of locations. Furthermore, both productions are part of NTW’s contribution to the London 2012 Cultural Olympiad. It is reassuring to see, that despite the London-centric outlook of the Olympics themselves, that the Cultural Olympiad has deemed it fit to stage productions in Wales, and chosen a fitting partner in NTW.
NTW’s third Cultural Olympiad production is In Water I’m Weightless by Kaite O’Reilly, the dramatist behind their triumphant production of The Persians. This work will be inspired by the lives of disabled and deaf people, bringing a wider scope to the London 2012 Cultural Olympiad. After all, the Paralympic Games rarely garner even a fraction of the attention given to the Olympic Games, and the same is true of society as a whole where the lives of disabled people are shoved to the sidelines. This will put their lives, problems, worries, hopes and successes at centre stage. Although it is to be staged at the Wales Millennium Centre, and is somewhat of a rarity in NTW’s programme, because it will not tour and is not driven by its location, it will continue their focus on various communities by giving a voice to one of the most ignored communities in the country.
A Provincial Life, based on Chekhov’s story, which will be one of the first productions staged in the newly refurbished Sherman Cymru, is another non-location driven production, which shows NTW’s development from merely location or community driven work, to regular auditorium and audience productions. However, as with Coriolan/us and Little Dogs, it shows a willingness to take inspiration from the classics, without merely slavishly re-staging old work.
The only touring show (apart from the NoFit State tour) is a Village Social by Dafydd James and Ben Lewis. This will tour village halls across Wales, and hopefully attract audiences that may otherwise either not have the opportunity or the inclination to go and see a NTW production. I can see this production occupying the same popular and populist position as A Good Night Out.
Over all, the programmes seems to strike a balance between the modern and the classic, the contemporary and the traditional – I just hope they manage to pull it off.
The company will be staging nine productions, although two of these The Dark Philosophers tour to the Edinburgh Fringe and the NoFit State tour, are in fact revivals from the first year.
I am looking forward to seeing the reaction to NTW’s work in Edinburgh, because it has generally received very favourable reviews on both sides of Offa’s Dyke, and it will therefore be interesting to see what the Edinburgh audience make of it. But perhaps more importantly, because of the vital role played by location, and a production’s relationship with a particular community within NTW’s first year productions, it will be fascinating to see how this works outside of Wales. After all, the production will not have the same relationship with its location as it did when it was performed in Newport and in the old miners’ institute in Rhos, near Wrexham.
I am glad that NoFit State’s production will be going on tour because it was an accomplished and polished show, which will go a long way to showing people the development in “circus theatre”, and that there is a lot more to the circus than merely a marquee in a soggy field. Furthermore, as this was one of the productions with the weakest or least tangible link to its location (Milford Haven) it should travel well. I just hope that NTW and NoFit state will work on the production to strengthen the narrative, and give the show a solid emotional core.
The other seven productions are a mix of location-driven productions such as The Radicalisation of Bradley Manning by Tim Price, which will be staged in Haverfordwest, where Manning attended Tasker Milward school. This production shows a continuation of NTW’s emphasis on location and community, but also indicates a new willingness to deal with, not only the social, but also the political, this is most definitely a good thing.
Little Dogs, inspired by Dylan Thomas, produced in partnership with Frantic Assembly and staged at the Patti Pavilion in Swansea, is another location-driven production. It should be interesting seeing how NTW decide to deal with Dylan Thomas, but is refreshing to see their willingness to put their own stamp on his life and work, rather than merely satisfy themselves with a staging of Under Milk Wood.
The other location driven productions are Coriolan/us based on the works of Shakespeare and Brecht, which will be staged at Dragon Film Studios (Valleywood!) and Branches (Working Title) a new commission from Constanza Macras/ Dorkypark, which is to be performed in the forests of North Wales. Both these productions will take NTW’s work to unusual locations, and it is good to see that they have not lost their flair for seeing possibilities in the most unlikely of locations. Furthermore, both productions are part of NTW’s contribution to the London 2012 Cultural Olympiad. It is reassuring to see, that despite the London-centric outlook of the Olympics themselves, that the Cultural Olympiad has deemed it fit to stage productions in Wales, and chosen a fitting partner in NTW.
NTW’s third Cultural Olympiad production is In Water I’m Weightless by Kaite O’Reilly, the dramatist behind their triumphant production of The Persians. This work will be inspired by the lives of disabled and deaf people, bringing a wider scope to the London 2012 Cultural Olympiad. After all, the Paralympic Games rarely garner even a fraction of the attention given to the Olympic Games, and the same is true of society as a whole where the lives of disabled people are shoved to the sidelines. This will put their lives, problems, worries, hopes and successes at centre stage. Although it is to be staged at the Wales Millennium Centre, and is somewhat of a rarity in NTW’s programme, because it will not tour and is not driven by its location, it will continue their focus on various communities by giving a voice to one of the most ignored communities in the country.
A Provincial Life, based on Chekhov’s story, which will be one of the first productions staged in the newly refurbished Sherman Cymru, is another non-location driven production, which shows NTW’s development from merely location or community driven work, to regular auditorium and audience productions. However, as with Coriolan/us and Little Dogs, it shows a willingness to take inspiration from the classics, without merely slavishly re-staging old work.
The only touring show (apart from the NoFit State tour) is a Village Social by Dafydd James and Ben Lewis. This will tour village halls across Wales, and hopefully attract audiences that may otherwise either not have the opportunity or the inclination to go and see a NTW production. I can see this production occupying the same popular and populist position as A Good Night Out.
Over all, the programmes seems to strike a balance between the modern and the classic, the contemporary and the traditional – I just hope they manage to pull it off.
Thursday, 26 May 2011
Afghanistan Crossroads of the Ancient World – British Museum
Once again just catching a glimpse of the artefacts on display in the Afghanistan Crossroads of the Ancient World exhibition was a challenge due to the enormous crowds. Most visitors spent the entire time craning their necks, jostling and nudging. Others had given up on seeing the exhibition in any great detail and decided to take a passing glance rather than having to squeeze and shove amongst the amassed throng.
The inability to see, let alone, savour the exhibition will undoubtedly affect the visitor’s experience and enjoyment. However, this problem is not unique to the British Museum, and is seen more and more at the big blockbuster exhibitions.
Despite having to fight to see the artefacts the exhibition was extremely interesting due to the new insight it gave into Afghanistan. This is a country that is rarely out of the headlines, but the present depiction of Afghanistan as the war-torn base of the oppressive, fundamental Taliban, is far removed from the country’s ancient history.
More than two thousand years before the existence of the Taliban, and hundreds of years before Islam came to Afghanistan, the country was a vast melting- pot of diverse influences. The most prominent of these influences were Greece and India, which came about due to Afghanistan’s prominent position on many ancient trade routes.
Afghanistan was part of the ancient Silk Road, and it was not only trade that travelled along this route but also ideas and artistic traditions. This goes a long way to explain how such a varied collection of artefacts – Roman glass, Indian ivory furniture and Chinese lacquer ware – was found in Afghanistan as well as giving an insight into the fusion of ideas, methods and traditions to be seen in much of the work on display.
This merging of ancient cultures is apparent in some of my favourite objects from the exhibition:
Woman Standing on a Makara – 1st Century AD
This beautifully detailed ivory statue is remarkable in its depiction of feminine beauty. Here is a sculpture of a woman whose clothing, jewellery, face and body show an obvious Indian influence. In fact, it would not look out of place in an exhibition on early Indian art.
Painted Beaker – 1st Century AD
This vibrant and colourful glass beaker - awash with sunshine yellows, deep blues, powerful crimsons and refreshing greens - shows a clear Roman influence not only in the figures depicted harvesting dates, and especially their clothing, but more importantly in the method of creating the beaker itself. Painted glassware was a Roman speciality during this period, and this piece proves the exchange of ideas and techniques between the Rome Empire and Afghanistan. The bright and lively images are truly extraordinary and the delicate decorations are a joy to behold.
Crown – 1st Century AD
This was the centrepiece, and masterpiece, of the exhibition. A stunning and delicate gold crown, made from thin flower- shaped, teardrop-shaped and rounded pieces of gold. This intricate piece is technically sublime, showcasing the masterful craftsmanship of the early inhabitants of Afghanistan. Furthermore the piece can be deconstructed into six pieces and transported should the need arise.
The exhibition succeeded in showing Afghanistan’s position as a trading crossroads and the influence this had on the country’s culture. However, it would have been interesting to see later artefacts and works of art from Afghanistan in order to understand the development of the country’s culture, and how tribes and peoples settling from different areas had affected and influenced that culture.
Over all, this was a very interesting exhibition that succeeded in revealing a little known chapter in Afghanistan’s history; it was just a pity that at times it was very hard to actually see the artefacts on display.
The inability to see, let alone, savour the exhibition will undoubtedly affect the visitor’s experience and enjoyment. However, this problem is not unique to the British Museum, and is seen more and more at the big blockbuster exhibitions.
Despite having to fight to see the artefacts the exhibition was extremely interesting due to the new insight it gave into Afghanistan. This is a country that is rarely out of the headlines, but the present depiction of Afghanistan as the war-torn base of the oppressive, fundamental Taliban, is far removed from the country’s ancient history.
More than two thousand years before the existence of the Taliban, and hundreds of years before Islam came to Afghanistan, the country was a vast melting- pot of diverse influences. The most prominent of these influences were Greece and India, which came about due to Afghanistan’s prominent position on many ancient trade routes.
Afghanistan was part of the ancient Silk Road, and it was not only trade that travelled along this route but also ideas and artistic traditions. This goes a long way to explain how such a varied collection of artefacts – Roman glass, Indian ivory furniture and Chinese lacquer ware – was found in Afghanistan as well as giving an insight into the fusion of ideas, methods and traditions to be seen in much of the work on display.
This merging of ancient cultures is apparent in some of my favourite objects from the exhibition:
Woman Standing on a Makara – 1st Century AD
This beautifully detailed ivory statue is remarkable in its depiction of feminine beauty. Here is a sculpture of a woman whose clothing, jewellery, face and body show an obvious Indian influence. In fact, it would not look out of place in an exhibition on early Indian art.
Painted Beaker – 1st Century AD
This vibrant and colourful glass beaker - awash with sunshine yellows, deep blues, powerful crimsons and refreshing greens - shows a clear Roman influence not only in the figures depicted harvesting dates, and especially their clothing, but more importantly in the method of creating the beaker itself. Painted glassware was a Roman speciality during this period, and this piece proves the exchange of ideas and techniques between the Rome Empire and Afghanistan. The bright and lively images are truly extraordinary and the delicate decorations are a joy to behold.
Crown – 1st Century AD
This was the centrepiece, and masterpiece, of the exhibition. A stunning and delicate gold crown, made from thin flower- shaped, teardrop-shaped and rounded pieces of gold. This intricate piece is technically sublime, showcasing the masterful craftsmanship of the early inhabitants of Afghanistan. Furthermore the piece can be deconstructed into six pieces and transported should the need arise.
The exhibition succeeded in showing Afghanistan’s position as a trading crossroads and the influence this had on the country’s culture. However, it would have been interesting to see later artefacts and works of art from Afghanistan in order to understand the development of the country’s culture, and how tribes and peoples settling from different areas had affected and influenced that culture.
Over all, this was a very interesting exhibition that succeeded in revealing a little known chapter in Afghanistan’s history; it was just a pity that at times it was very hard to actually see the artefacts on display.
Wednesday, 25 May 2011
The Cult of Beauty: V and A Museum
There was barely enough room to breathe, let alone enjoy the works displayed as part of the Cult of Beauty exhibition at the V and A Museum. On a sweltering Saturday people were squeezed into every nook and cranny of the exhibition space as everybody jostled for a glimpse of each work of art. It is always nice to see people coming in droves through the doors of any museum, but perhaps the V and A should have taken a leaf out of the National Gallery’s book and limited the number of tickets available each hour. This might have ensured that all the visitors had an opportunity to savour the exhibition rather than having to shove, nudge and elbow just to catch a glance of each work on display.
Clearly this was not the best day to try and see the Cult of Beauty exhibition, and it would have been a far more enjoyable experience on a quieter day, nevertheless, each and every piece of art on display was exceptionally beautiful. The exhibits were worth the wait when they - at last - came into view – decadent paintings, luxurious textiles, elegant ceramics, stunning furniture, wonderful patterned wallpaper and splendid posters.
There is very little point in describing all the pieces on display, but here are a few of my personal favourites:
The Syracusan Bride Leading Wild Beasts in Procession to the Temple of Diana – Frederic Leighton
This huge painting awash with vibrant colours shows an exotic scene of colourfully robed women, lions, leopards, tigers and bright flower garlands. The painting reveals the new depiction of women amongst the Aesthetic artists. It shows a new depiction of female beauty – an exotic and (at that time) unusual depiction and ideal of female beauty.
Screen – William Eden Nesfield
This is a beautiful, decadent screen with golden Japanese silk paper decorated with birds and flowers, as well as a dark wooden frame gilded with stunning intricate gold patterns. It shows the new attitude that the Aesthetics had towards other cultures, and especially the Orient. The Aesthetics were influenced and inspired by other cultures, and often this would be the first opportunity for many people to see art from other countries.
Charger – William de Morgan
This stunning charger with a flamboyant turquoise peacock is a typical symbol of aestheticism. The peacock was a motif that was often used by the artists of the aesthetic movement to symbolise decadence luxury, beauty and pride in beauty.
The Climax – Aubrey Beardsley
This monochrome illustration for Salome by Oscar Wilde shows the clear link in the aesthetic Movement between art and literature. Many of the ideas and images were shared by artists, authors and poets alike.
The diverse objects on display allowed the visitor to appreciate the diverse artists (and poets) which were part of the Aesthetic Movement as well as the varying methods, ideas and art forms within this group. However, the exhibition’s focus on the Aesthetic Movement’s central principles - the artists attempts to escape the ugliness and materialism of the age through their art as well as the ideal of Art for Art’s Sake : art that existed to be beautiful and no more – ensured that the exhibition was complete and well-rounded.
The exhibition succeeded in charting the history, influences and development of the Aesthetic Movement. This was done by organising the exhibition chronologically - not always the most exciting way to exhibit pieces of art – but in this case it was the most effective. However, the exhibition did miss a trick in not chronicling the influence of the V and A Museum itself. After all, the V and A Museum’s history is intrinsically linked to the influence of aestheticism and its very presence owes a great deal to the period when artists realised the increased importance of the decorative arts.
The Cult of Beauty not only showed the changing attitudes of artists but also the changing attitudes of the public towards art. Handmade pieces of art and furniture such as those created by William Morris and Burne-Jones were no longer the preserve of the very wealthy few because a number of the artists and designers of the Aesthetic Movement developed the mass production of stylish household goods. This brought about the idea that everybody (with reasonable means) could furnish their homes with pieces of art, and everybody could therefore enjoy Art for Art’s Sake.
This was a stunning exhibition that succeeded in bringing new life to the Aesthetic Movement; it was just a pity that it was almost impossible to fully appreciate the art on display because of the huge crowds.
Clearly this was not the best day to try and see the Cult of Beauty exhibition, and it would have been a far more enjoyable experience on a quieter day, nevertheless, each and every piece of art on display was exceptionally beautiful. The exhibits were worth the wait when they - at last - came into view – decadent paintings, luxurious textiles, elegant ceramics, stunning furniture, wonderful patterned wallpaper and splendid posters.
There is very little point in describing all the pieces on display, but here are a few of my personal favourites:
The Syracusan Bride Leading Wild Beasts in Procession to the Temple of Diana – Frederic Leighton
This huge painting awash with vibrant colours shows an exotic scene of colourfully robed women, lions, leopards, tigers and bright flower garlands. The painting reveals the new depiction of women amongst the Aesthetic artists. It shows a new depiction of female beauty – an exotic and (at that time) unusual depiction and ideal of female beauty.
Screen – William Eden Nesfield
This is a beautiful, decadent screen with golden Japanese silk paper decorated with birds and flowers, as well as a dark wooden frame gilded with stunning intricate gold patterns. It shows the new attitude that the Aesthetics had towards other cultures, and especially the Orient. The Aesthetics were influenced and inspired by other cultures, and often this would be the first opportunity for many people to see art from other countries.
Charger – William de Morgan
This stunning charger with a flamboyant turquoise peacock is a typical symbol of aestheticism. The peacock was a motif that was often used by the artists of the aesthetic movement to symbolise decadence luxury, beauty and pride in beauty.
The Climax – Aubrey Beardsley
This monochrome illustration for Salome by Oscar Wilde shows the clear link in the aesthetic Movement between art and literature. Many of the ideas and images were shared by artists, authors and poets alike.
The diverse objects on display allowed the visitor to appreciate the diverse artists (and poets) which were part of the Aesthetic Movement as well as the varying methods, ideas and art forms within this group. However, the exhibition’s focus on the Aesthetic Movement’s central principles - the artists attempts to escape the ugliness and materialism of the age through their art as well as the ideal of Art for Art’s Sake : art that existed to be beautiful and no more – ensured that the exhibition was complete and well-rounded.
The exhibition succeeded in charting the history, influences and development of the Aesthetic Movement. This was done by organising the exhibition chronologically - not always the most exciting way to exhibit pieces of art – but in this case it was the most effective. However, the exhibition did miss a trick in not chronicling the influence of the V and A Museum itself. After all, the V and A Museum’s history is intrinsically linked to the influence of aestheticism and its very presence owes a great deal to the period when artists realised the increased importance of the decorative arts.
The Cult of Beauty not only showed the changing attitudes of artists but also the changing attitudes of the public towards art. Handmade pieces of art and furniture such as those created by William Morris and Burne-Jones were no longer the preserve of the very wealthy few because a number of the artists and designers of the Aesthetic Movement developed the mass production of stylish household goods. This brought about the idea that everybody (with reasonable means) could furnish their homes with pieces of art, and everybody could therefore enjoy Art for Art’s Sake.
This was a stunning exhibition that succeeded in bringing new life to the Aesthetic Movement; it was just a pity that it was almost impossible to fully appreciate the art on display because of the huge crowds.
Thursday, 19 May 2011
Ruthin Craft Centre
I was expecting great things of Ruthin Craft Centre.
Following the completion of its renovation in 2008, the building itself had garnered a lot of media attention and was nominated for the RIBA Stirling Prize for architecture. Therefore, I was looking forward to seeing the building that looked so interesting in the press photographs as well as finding out what one of the few galleries dedicated specifically and solely to the applied arts had to offer.
On both counts I was sorely disappointed.
Although the space created by the shape of the building, a large empty rectangle surrounded on three sides by the gallery, could have been used very effectively and could have increased the space available – it was not used to its full potential and neither was the building itself.
The three galleries flowed from one to the other, giving a feeling of continuity and completeness – but all three were relatively small. And in actual fact, gallery two and three were actually very small. Any substantial exhibition would require the use of all three galleries.
This meant that all three exhibitions felt like shoddy snapshots of the artists’ work, rather than well-prepared, well-presented displays. Furthermore, even though the spaces were designed specifically to exhibit the applied arts, it was no different to an “ordinary” art gallery. There were no glass cases to ensure that the visitor could see the garments or pieces of ceramic displayed rather than merely the front.
The shop had a large and varied selection of unusual books and magazines on the applied arts, which would be useful for students, practitioners and anyone else with a particular interest in this field of the arts. However the products (jewellery, ceramics, textiles) on sale in the shop were aimed at the higher end of the market as were the offerings (and prices) in the cafe. There is nothing wrong with this in itself, but any shop/ cafe must take its location into account when setting its prices, and I think that the Ruthin Craft Centre might have failed to do so.
There were a number of artist’s studios on site, which gave the visitor the opportunity to see a variety of different crafts. However, it was a pity that the vast majority of the site was used for these studios to the detriment of the space available for the galleries.
Overall, having a centre for the applied arts in North Wales is undoubtedly a good thing, however if the space provided by Ruthin Craft Centre and been used to its full potential, the visitor’s experience would be greatly improved.
Following the completion of its renovation in 2008, the building itself had garnered a lot of media attention and was nominated for the RIBA Stirling Prize for architecture. Therefore, I was looking forward to seeing the building that looked so interesting in the press photographs as well as finding out what one of the few galleries dedicated specifically and solely to the applied arts had to offer.
On both counts I was sorely disappointed.
Although the space created by the shape of the building, a large empty rectangle surrounded on three sides by the gallery, could have been used very effectively and could have increased the space available – it was not used to its full potential and neither was the building itself.
The three galleries flowed from one to the other, giving a feeling of continuity and completeness – but all three were relatively small. And in actual fact, gallery two and three were actually very small. Any substantial exhibition would require the use of all three galleries.
This meant that all three exhibitions felt like shoddy snapshots of the artists’ work, rather than well-prepared, well-presented displays. Furthermore, even though the spaces were designed specifically to exhibit the applied arts, it was no different to an “ordinary” art gallery. There were no glass cases to ensure that the visitor could see the garments or pieces of ceramic displayed rather than merely the front.
The shop had a large and varied selection of unusual books and magazines on the applied arts, which would be useful for students, practitioners and anyone else with a particular interest in this field of the arts. However the products (jewellery, ceramics, textiles) on sale in the shop were aimed at the higher end of the market as were the offerings (and prices) in the cafe. There is nothing wrong with this in itself, but any shop/ cafe must take its location into account when setting its prices, and I think that the Ruthin Craft Centre might have failed to do so.
There were a number of artist’s studios on site, which gave the visitor the opportunity to see a variety of different crafts. However, it was a pity that the vast majority of the site was used for these studios to the detriment of the space available for the galleries.
Overall, having a centre for the applied arts in North Wales is undoubtedly a good thing, however if the space provided by Ruthin Craft Centre and been used to its full potential, the visitor’s experience would be greatly improved.
Wednesday, 18 May 2011
Sasha Kagan – My Life in Textiles : Ruthin Craft Centre
This retrospective, looking back over 40 years of knitwear design by Sasha Kagan, was disappointing. The exhibition failed because there was very little to see – less than a dozen actual garments and a handful of pattern samples.
The pieces displayed were beautiful – with rich colours and attractive and innovative patterns – but there is no way that such a small exhibition could be a retrospective for such a prolific knitwear designer. Furthermore, not only were there very few actual items to see, but those displayed didn’t fit together to create a coherent exhibition. It felt as if Kagan had opened her wardrobe or store cupboard and chosen a few random items.
As such the exhibition was organised according to the themes of the patterns on the knitwear – geometric, leaves, florals, abstract. Although it was interesting to see how the designs within each theme had changed and evolved over time - this was a missed opportunity. If the exhibition had been organised chronologically, it would have shown far more effectively the development of Kagan’s work. We could have seen the changes and developments in her ideas, designs and garments, which would have given a more rounded and complete picture of both Kagan’s work and of Kagan herself as a knitwear designer.
All the items exhibited were either finished garments or sample squares of a particular design – it could have been interesting and enlightening to see the complete design process, rather than merely the finished product. Kagan could have displayed the inspiration and ideas, sketches, samples and then the final garment, for one of her designs. This would have given the viewer a real insight in to how Kagan works – what inspires her, how the patterns evolve and ultimately how a design develops from the original idea into the finished product.
The lack of insight into Kagan’s work and the lack of any new or previously unseen work means that a visitor to this exhibition would have been better off staying at home and flicking through the Sasha Kagan book on the shelf.
The pieces displayed were beautiful – with rich colours and attractive and innovative patterns – but there is no way that such a small exhibition could be a retrospective for such a prolific knitwear designer. Furthermore, not only were there very few actual items to see, but those displayed didn’t fit together to create a coherent exhibition. It felt as if Kagan had opened her wardrobe or store cupboard and chosen a few random items.
As such the exhibition was organised according to the themes of the patterns on the knitwear – geometric, leaves, florals, abstract. Although it was interesting to see how the designs within each theme had changed and evolved over time - this was a missed opportunity. If the exhibition had been organised chronologically, it would have shown far more effectively the development of Kagan’s work. We could have seen the changes and developments in her ideas, designs and garments, which would have given a more rounded and complete picture of both Kagan’s work and of Kagan herself as a knitwear designer.
All the items exhibited were either finished garments or sample squares of a particular design – it could have been interesting and enlightening to see the complete design process, rather than merely the finished product. Kagan could have displayed the inspiration and ideas, sketches, samples and then the final garment, for one of her designs. This would have given the viewer a real insight in to how Kagan works – what inspires her, how the patterns evolve and ultimately how a design develops from the original idea into the finished product.
The lack of insight into Kagan’s work and the lack of any new or previously unseen work means that a visitor to this exhibition would have been better off staying at home and flicking through the Sasha Kagan book on the shelf.
Monday, 16 May 2011
The Case of the Disappearing Artist
At the opening of two exhibitions – Circle of Animals/Zodiac Heads at Somerset House and Ai Weiwei at the Lissen Gallery – there was one man missing. Ai Weiwei.
The artist has not been seen, save for a short visit granted to his wife in an undisclosed location on Sunday night, since he was detained at Beijing airport by the Chinese authorities on April 3rd.
His wife’s visit proved that he was in good health, but the most pressing questions surrounding his incarceration are yet to be answered. Why has he been arrested? Has he actually been arrested? What are the charges against him? And most importantly of all – when will he be freed?
Artists have rightly been up in arms about his arrest – Anish Kapoor dedicated a new installation unveiled at the Grand Palais in Paris to Ai Weiwei and described his detention as “barbaric”. But what can be done to bring more attention to Weiwei’s plight? What can be done to put pressure on the Chinese authorities? After all, if they can detain one of the country’s foremost artist’s with impunity, will the words of a few artists have them quaking in their boots?
Is it not now time for the politicians to step forward and condemn the detention of Ai Weiwei?
The Foreign Secretary, William Hague, released a statement on April 4th:
“I call on the Chinese government to urgently clarify Ai’s situation and wellbeing and hope he will be released immediately.”
But he has kept silence since then.
It will take more than a statement from the Foreign Secretary to put pressure on the Chinese authorities, public condemnation by Prime Ministers and Presidents would be a step in the right direction. And perhaps it is time for governments to re-think their relationships with China.
For too long governments have been willing to take a softly softly approach to China’s human rights abuses, believing that favourable trade relations are more important than basic rights.
If China can get away with detaining such a high profile public figure without fearing the consequences, God knows what it does to ordinary citizens.
The artist has not been seen, save for a short visit granted to his wife in an undisclosed location on Sunday night, since he was detained at Beijing airport by the Chinese authorities on April 3rd.
His wife’s visit proved that he was in good health, but the most pressing questions surrounding his incarceration are yet to be answered. Why has he been arrested? Has he actually been arrested? What are the charges against him? And most importantly of all – when will he be freed?
Artists have rightly been up in arms about his arrest – Anish Kapoor dedicated a new installation unveiled at the Grand Palais in Paris to Ai Weiwei and described his detention as “barbaric”. But what can be done to bring more attention to Weiwei’s plight? What can be done to put pressure on the Chinese authorities? After all, if they can detain one of the country’s foremost artist’s with impunity, will the words of a few artists have them quaking in their boots?
Is it not now time for the politicians to step forward and condemn the detention of Ai Weiwei?
The Foreign Secretary, William Hague, released a statement on April 4th:
“I call on the Chinese government to urgently clarify Ai’s situation and wellbeing and hope he will be released immediately.”
But he has kept silence since then.
It will take more than a statement from the Foreign Secretary to put pressure on the Chinese authorities, public condemnation by Prime Ministers and Presidents would be a step in the right direction. And perhaps it is time for governments to re-think their relationships with China.
For too long governments have been willing to take a softly softly approach to China’s human rights abuses, believing that favourable trade relations are more important than basic rights.
If China can get away with detaining such a high profile public figure without fearing the consequences, God knows what it does to ordinary citizens.
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