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CSM-Artscom_Laissez_Faire_November 2012.indd 1

15/10/2012 11:21

illustator Christoper Kieling

J

ust when you thought it was all over, we hit you like a hurricane with circadian rhythm-like timing.

The creative scene in London has reached its climax this year with the all-ambitious Frieze Art Fair and Frieze Masters covering the world’s most prestigious art under one purpose built arena in Regents Park; and the London Design Festival coming home to roost. In case you’ve missed out on all the fan-fare, we’ve covered it in style with all the bells and whistles we could muster.

There is a fortune to be made in art that will make Astor and Rockefeller seem picayune, but I’ll be you all the coffee in Java you’re saying, “I wish I could do that”.

LF

So before you foray further, I’ll leave you with one folksy nugget of wisdom. What molecules of influence can infiltrate the inspirational and creative pathways of our brains? -- How does creativity work? Research shows that kind of epiphany occurs when we are happy, relaxed and not dwelling directly on the problem that needs solving. It might come while you are travelling, napping or listening to a string quartet – indeed, almost anywhere other than the modern office environment, which encourages high levels of specialization and stress. Starring at a computer screen under pressure of deadlines is the enemy of inspiration.

So, flick through the pages of Laissez Faire London with glee; enjoy some worldly humour and gun-slinging prose style articles.

Your muckraking editor Maximus Jo Kerr McGuire.

LAISSEZ FAIRE LONDON is published www.laissezfairelondon.co.uk

by Richmond Media Ltd

H.Q: Soho

, London W1F 0HG

editor@laissezfairelondon.co.uk

LAISSEZFAIRELONDON

PHOTOGRAPHY

The Big Idea!

SLINKACHU

F

rom the very first moment we saw her first edition, Little People in the City, we knew Slinkachu would go far. Years down the line and Slinkachu’s tiny characters with big personalities have conquered every corner of the globe – literally – from the Great Wall of China to the monuments of Athens.

This miniature art specialist has taken a ‘Roman Candle’ idea with giant surroundings, rough, cartoonish, fragile constructed figures, and has single handily transformed them into something contemporary, full of exotic allusion, funny and popular.

These little guys literally spring out of the book .They exude a kaleidoscope personally perpetually revealing new facets of the environments around us. We particularly admire how Slinkachu transforms the surroundings, such as a drug littered dumping ground, into a shared capacity to lets silence speak volumes; almost Buster Keaten / Charlie Chaplinesque-like.

Slinkachu and Co. are widely travelled. She’s got a busy year planned with the launch of her new book:.

Global Model Village, so you’ll be sure to catch her I’m sure.

They’re not pets, Susan

www.laissezfairelondon.co.uk

Great Wall

Before we go into your new book, Global Model Village, I’d like to take the readers back to your original book, Little People in the City. Everyone is dying to know how you came across such a fascinating idea? (The classic question) It really was just a random idea that came to me one day -one of those lucky ideas that suddenly fills you with excitement. I was working as a creative at an ad agency at the time and one day, working outside, i started to imagine how much fun it would be hide miniature people in the square around me. The idea started very simply but now the whole process, the ideas and the photography are a lot more thought out.

How are the models and accessories created, and do you work with a huge magnifying glass?

The models are modified train set figures that I cut up, repose and paint to achieve the poses that i need. As for accessories, they come from everywhere - things i find on the street, insects, litter, models that i buy in model shops or things that i find on ebay. And a lot of things i make from random objects - a curly straw becomes a water slide or a bottle top becomes a boat.

The way you capture the rawness of the streets and juxtaposition these little guys is at best comical (in a nice way). Do plan these set out or do you just spontaneous with what you see around town?

Most of the installations are planned in advance but the locations themselves are a bit more spontaneous. For instance, I made a figure that is pole dancing and knew that i want to have her using the pole of a street sign as her dancing pole. I took the installation to Hong Kong and went out at night to the red light district in Mong Kok looking for the right pole to use. It took a while to find one with a great view of the neon signs in the back ground and one that was lit well enough by the street lights, as i don’t use lighting equipment for my shoots. But that is part of the fun - just exploring a city, looking at it in a completely different way.

www.laissezfairelondon.co.uk

The Last Resort

We heard somewhere that you just leave your characters and their sets exactly where you’ve photographed them.

Has anyone ever picked them up and re-sold them on Ebay?

more interesting than the day-to-day reality. I guess I think that the work is more interesting than me!

All the installations are left where I place them - the figures are ‘abandoned’ on the street. I haven’t seen any of the street figures end up on ebay yet, but a few have been taken from galleries before. I did an outside show in Antwerp, Belgium, recently and people did wait around well in to the night until the people looking after the figures during the show had left, so that they could pick up the characters. None have been sold online yet though! Hopefully they found good homes instead.

There aren’t really reoccurring characters in my work as such, but there are definitely archetypes that i use - the lonely older man or the hooded kid on his own or with a friend with no parents around. There are definitely some images that i get emailed about a lot. One of the first that I did, “Dreams of Packing it All In” which shows a suited man sitting alone overlooking the Thames has always been popular. I think for me, the best images are the ones that really touch people and make people put themselves in the shoes of the tiny characters.

Although I can’t resist just doing anarchic or disgusting ones sometimes!

Obviously Slinkachu is not your real name (right?). So do you consider yourself like a street artist that will pop up un-announced in any part of the neighbourhood and now the world?

The ‘Slinkachu’ name was more of an accident than anything it comes from my old nickname at university and was the signin name I used online, which by default was the name that my first blog was registered under. Using a pseudonym is handy though. I would prefer people to think about the characters in my work rather that the person that has done it. And there is romanticism about the idea of popping up un-announced that is

Do your fans have a favourite character?

You’ve come pretty far since the original book. Is this now a full time job?

Yes, I left my full-time job in 2008. I feel very lucky to have been able to do that. It is the thing that everyone at art college dreams about being able to do. Leave work was a bit of a gamble, but sometimes you just have to throw your all in to something that you are passionate about and hope for the best.

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Dreams Of Packing It All In

S

linkachu LAST WEEK OF SOLO SHOW This is the last week of my latest solo show Global Model Village - you can still catch it at Andipa Gallery in London until 27th October. slinkachu.com little-people.blogspot.com Twitter @slinkachu facebook.com/slinkachu

Worst Wurst Tell us a bit about your new book Global Model Village.

My latest book is a collection of my work from different cities around the world, shot over the past few years. Some of the installations were shot during shows in other countries such as Italy and Germany and other places I visited specifically to shoot in such as Beijing, Moscow, Doha and Cape Town. Even though some of the cities are far-flung and ‘exotic’, once you get down to ground level you could often almost be anywhere - and hopefully that idea carries through in to the themes of the images too, that all of us ‘little people’ where ever we are, all have the same kinds of problems and preoccupations.

Where can we expect to find you popping up next – give us a general clue or else there will be groupies building camp sites there.

I am hoping to get out to Japan in the new year. And also to put on a show somewhere in Germany. But it has been a while since I have actually been out and about in London and I kind of miss it...

www.laissezfairelondon.co.uk

EDITORS CHOICE C I T Y

S L I C K E R S What do London students do once a week in the day time and twice a week in the evening?

Dispense free legal advice, of course.

Ok, so it doesn’t work as a joke, but it is a great series of schemes run by City Law School.

P

ro Bono Advice Clinics, as they’re called, give experience-hungry law students the chance to put flesh and bones onto the theory taught at law school, with a willingness to meet different legal scenarios head-on, and devote entire evenings getting involved with real people, actual cases and genuine problems.

For those not in the know: Pro Bono = FREE legal advice assistance. Yes I said F.R.E.E. Covering all pillars and branches of British legal system, including overheated handbag battles; unexplained drunken accidents whilst stepping off a spinning merry-go-round with an ear infection; or whether neatly slotting into your customary role of pouting pantomime villain bearing the brunt of worldwide criticism - defamation; as well as territorial land disputes, or dealing with crafty commercial customers pushing the boundaries. The advice centre specialises in civil law. All of which covers everything from tenant issues to age discrimination at work to what to do if you’ve got a stalker.

Pretty much everything your average Londoner could need advice on.

While giving members of the public a chance to get decent legal advice without all those incredibly inconvenient, unscrupulous lawyers demanding very large sums of money they are known to ask for, it is also balanced by gaining useful experience for students to become qualified solicitors/barristers that makes City Law School quite proud of their Pro Bono service. Furthermore, all the advice given by the City students is backed up by a platoon of qualified in-house lawyers and external solicitors.

The Advice Clinics are only a small part of City Law School’s Pro Bono services. It also bears all the hallmarks of being one of the best law schools in the world.

So whether you need commercial advice in sealing that deal, or help in adopting artful strategies to cope with domestic violence, or even if you have a record as clean as a cats ass but want advice in brooding a plan, it’s nice to know that City Law School’s Pro Bono service exists in the real world; and even nicer to know that in this opportunity, everyone wins.

Clinic hours

Wednesday’s Thursday’s Appointments: 0207 404 5787 ext: 353

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FRIEZE ART

Safe Havens

F

or the biggest art-fest showdown this year we headed down to Regents Park for the, once a year, Frieze Art Fair and Frieze Masters exhibition sponsored by the City’s big beast: Deutsche Bank.

This rather large event comprises of five main sections: Frieze Projects; Frieze Talks; Frieze Film; Frieze Masters; and the Sculpture Park.

With over 1,000 leading contemporary artists and galleries from over fifty countries displaying their wares, we selected a handful just to wet your taste buds.

www.laissezfairelondon.co.uk

T

risha Baga is a young artist working mainly in video and performance. Her approach is open and intuitive, with a homespun aesthetic that might incorporate screen effects, recordings of herself singing layered over soundtracks, scenes spliced together and improvised props. Picking up on chance constellations of objects in her bedroom, or familiar images cast in a new light, she is interested in the “common things� that surround us, using these to guide phenomenological compositions about the act of looking and recognising, and the potentiality that might lie in the gap between. Her work could be said to foreground distraction as a methodology: With an approach to narrative that recalls the logic of browsing online and hyperlinks, she allows herself the space to drift, notice and find.

Drowned world Substitute for love World Peace, Kunstverein Munich 2012, Vilma Gold Gallery

www.laissezfairelondon.co.uk

Joan Mitchell, Composition (1961). Hauser and Wirth Gallery, London, New York, Zurich

When we got here, business was surprisingly in fine fettle. Those able to invest in art at the very top level, recently deemed to be safe havens, were hammering back and forth with Shangri La numbers like ÂŁ200k. Growth rates were stellar. I asked an art dealer how he felt about the market and he replied: “Like an oversexed man in a harem.

This is the time to start investing� and you can see why. With each turn, I took a sharp in-take of breath at these spectacular pictures, painted by artists probably with panic attacks, depression and obsessive compulsive behaviours, which altogether adds to the visual magic beautifully evoking some inner emotion.

www.laissezfairelondon.co.uk

A ghastly depiction of decaying features after death.

Enrico David 'Untitled' (2012), Enrico David 'Light Days' (2012), Michael Werner Gallery, New York

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John McLaughlin, Franklin Parrasch Gallery, New York

Entering Frieze Masters, fifteen minutes walk from the Frieze Art Fair at the opposite side of Regents Park, was yet another perfect fertile collection of art, with the centre of attention being ‘Spotlight’: a section of exuberant pleasures in light, colour, paintings sculptures dedicated to solo artist presentations of work made in the 20th century.

ART MASTERS www.laissezfairelondon.co.uk

Annie Leibovitz: Louise Bourgeois, 1997. Bernheimer Fine Art Photography, Munich

If pictures paint a thousand words, then here you’ve got the world’s vocabulary under one roof, and today’s young collectors are behaving like a new religious convert speaking it in every language.

www.laissezfairelondon.co.uk

Romano Alberti da San Sepolcro - Pair of kneeling candle stick angels. Bacarelli Botticelli, Florence

Galerie Meyer Oceanic Art, Paris

Frieze Master-pieces come no more timely than these. You can’t buy one for love or money

www.laissezfairelondon.co.uk

Edward Tyler Nahem Fine Art, New York

A well chosen art collection tempers and flatters its owner, it serves as shorthand for intelligence, wit and urbanity – and acts as a kind of justification of wealth. But for most of us, buying this sort of art is a pretty serious commitment that is going to leave us on the cusp of social penury for a long time. I, instead, turned to whipping out a phone camera – predominantly a male problem – and can be a source of acute irritation for sellers.

Yves Klein’s “Ant 91” (1960)

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ILLUSTRATION

christopherkieling.com christopherkieling@hotmail.com

The Ink Is Mightier Than The Sword Christopher Kieling

C

hristopher Kieling is an ink-and-paper tidal wave warrior. Not to be bamboozled by the ever con game you have in the media, this guy has an instinct for truth and channels them into his sketchbook exuberance.

His street-art like mentality sometimes sails him into risky waters, but with imagination, a fine eye and an experienced touch, one can forgive him for battering an interesting path for himself. These were tantalising glimpses; trains of thought for the future and here, Christopher tells Laissez Faire what drives his work.

Jean Lino Print

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Crying Woman

That universal tube calendar was a great idea. Greater still was the fact that you put them up on the advertising slots in a carriage on the on the Victoria line. (watch here: http://vimeo.com/37141849) Did you get permission to do this and what do you think people were thinking?

I had been planning to do something on the London Underground for quite a while. The advertisement panels inside the tube always were extremely tempting. To me they were a perfect canvas. They are very easy to access due to their slide-in construction, much easier than bus stops or billboards, which are bigger and often protected by a thick sheet of glass.

Thousands of people use the tube every day. For most, it is the only way to get to work, university or school. The most common behaviour of people on the tube is to gaze either down on the shoes of the person in front, or up onto a variety of advertisements and brands.

Since I was pretty sure the TFL wouldn’t want to listen to my utopian fantasies of a culturally diverse tube carriage, I decided to keep this idea to myself to avoid them from designing glass frames for these slots before I was able to carry out my project. I must admit that I didn’t have an official permission to carry out this experiment, but in my defence I can say that we cleared them off after we had collected enough photo and video material.

I am not quite sure what people were thinking while I was setting the calendar up. We put them up in Brixton where I lived at the time. It was during midday so the tube tends to be relatively empty then, however it fills up fast as it goes towards central London. We were lucky to have a friendly employee of the cleaning squad in our carriage who gave us the thumbs up after he spotted the Tamil holidays.

Like most of the ‘public’ spaces in London, these spots belong to companies who have the money to buy their right to display their posters. This inspired me to think of what these great spots could be used for instead. I used to think how fantastic it would be if these panels would be used in alternative ways, for the public. For art, poetry or photography. It took me a while until I found a project, which was worth of carrying out this risky plan.

I wanted to put something up which is not only for my own benefit but something, which reaches people on a personal level. The universal tube calendar was designed to create an interest between different religions and ethnic groups. It was also made for people to rediscover their own heritage and think outside the Gregorian box. Its purpose was to reveal how many different ways there are of looking at time and how different certain perceptions of time are from others. An interesting example was the Bahamian calendar, which consists of 19 months. However it also shows how the different religions and beliefs overlay each other in many occasions, and become similar if you take a step back.

www.laissezfairelondon.co.uk

Raid Lino

Lino Sausage Skull

The idea behind the Sausage Skull, of meat relating to death is now going to put a lot of people off meat. Was that your intention?

I don’t think that the ‘Sausage Skull’ linocut is going to change peoples eating habits, but at least it reminds them of that little inner conflict many people have with eating mass produced meat, but which they push to the back of their heads to feel better. This is a much too complex issue to address with one lino print.

You can’t have meat without death. The problem is just that we tend to forget that in our wonderfully decorated supermarkets. Meat packaging used to show healthy cows on endless green fields and happy chickens running freely in front of old-fashioned farmhouses. Most people know by now that the reality looks very different. Today we don’t even want to get reminded that this soggy piece of pale muscle once was an animal. The meat industry deliberately tries to alienate our perception in order to destroy our relationship to the animals we eat.

But where does that stop? That was my initial idea for this print. If meat becomes so anonymous to us, what’s the difference between eating an animal and a human?

We approach children at an early age with standardised chicken nuggets, sausages and beef burgers, no wonder they cant build up an understanding for where this actually comes from.

And by the time they do, they have gotten so used to this stuff that they don’t want to think about it anymore.

www.laissezfairelondon.co.uk

Holborn Morning

In the second year of my studies I did intensive research about the meat industry and their marketing schemes. In fact I wrote a big chapter about this topic in my dissertation. I could talk about this for hours, but it’s not a pleasant topic so I’ll save this for another time.

Related to this however, I would like to mention that I am currently working on an anti-fur campaign.

‘FUK FUR’, its planned to get launched this November in Berlin. I am working together with Katharina Friedrich, a talented photo model who shares my passion for animal rights. Our ambition is to raise money and awareness for local organisations to fight the fur trade in Germany.

We are currently working on our Facebook profile, which will cover more information. Anyone who is interested in coming for a visit is more than welcome.

Another of your illustration’s Reizüberflutung, depicting a young lady facing the pressures of modern day consumerism is beautifully drawn, but I sense the rebel in you behind the art. Are you an activist of any sort?

No. I wish I had enough passion to be one. Activists chain themselves to train tracks, spend months planning rallies, writing speeches and producing banners for what they believe in. I merely draw and print. I certainly have things I want to say, things I want people to feel or think about when they look at my work. But spending time in the studio is not really being active. In the past I designed a largescale banner to protest against the Student Cuts in 2010, however it got lost in the riots, which was quite upsetting since I put a lot of work into it. I had to realise that protests are not the right place to get appreciated for fine art on bed sheets. Everyone needs to find their purpose. I found my purpose in depicting modern day issues in very detailed illustrations. That’s what I’m good at.

www.laissezfairelondon.co.uk

You’re a dab hand at illustrating with Indian Ink. What is the love affair between Indian Ink and yourself all about?

That was a rather late development. I was never much of a painter.

Even today I don’t enjoy using brushes that much. By now I can certainly appreciate a good brushstroke when I see it, but I prefer a rougher tool. During my school carrier I was obsessed with graffiti (still am). There wasn’t a single worksheet, which wasn’t covered with tags, styles or characters. My main tool for those was a pencil or a biro. It was all about the lines.

After I notice that illustrating became more and more important to me and my future, I wanted to move on. I tried out various media, like painting with acrylics and oil. But I was disappointed by it, even though I enjoyed how it slowed me down. With a biro you don’t think much, you just slam it on the paper. But with a brush I started thinking before I made the mark.

During university I discovered Indian ink. It was the best of both worlds. It slowed me down, simply due to the fact that the ink runs out after a few strokes, but it was still lines I was working with.

Something, which I discovered over time was that Indian ink is much thicker than black pen or felt tip, which allows you to build up texture on the paper. If you want something to be black, you can make it as black as black gets. I discovered that the roughness of using an ink nib was even more satisfying than the tip of a biro or a fineliner. It’s almost like scratching into the paper instead of drawing onto it. This was also the beginning of my interest for etching and linocutting.

Sabertooth Etching

Grizzly Illustration

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Rhino Illustration

Is Indian Ink graffiti street-art going to be your defining style in years to come, or are you cooking up a surprise behind the scenes in other areas of art and design?

I am currently trying to set up a small print studio in my flat in Berlin. I would like to expand on my etching skills, and explore this technique in depth. I also began to move from linocuts to woodcuts, which I started really enjoying. I am very interested in the Japanese tradition of woodcutting and would like to experiment with that medium more. Maybe adding colour would give me an interesting result, even though I very much like black and white. Apart from that I would like to expand on my woodwork. The ‘Corporate Toy’ was a huge success at the Central Saint Martins degree show. Especially the fusion between toys and social criticism interests me.

I like to reduce a complex issue down to its simplest form to make it accessible to everyone. But I have so many ideas of all sorts for which I didn't have time to implement them yet, that I can guarantee a couple of surprises coming up in the future.

How would you define your style?

I try to avoid having a distinctive style. I think its something you can’t avoid over a period of time, but I try to tackle every new piece from a neutral starting point. Of course I have certain preferences, I like my lines and I like my contrast. But I try to make it dependant on the individual piece. It also depends on the image I am drawing, and what kind of response I am trying to get from the observer. I am eager to learn new techniques and ways of working, because I think it widens my horizon in terms of what I can communicate.

I am also very interested in techniques beyond illustration and printmaking. The ‘Corporate Toy’ was a good example; I had this idea for a while and knew that it would only make sense if it were built out of wood. So I went to the wood working department and practised until I was able to produce a piece that I was happy with. Another example was the ‘Meet Meat’ sculpture. All I knew was that I wanted to make a sculpture, however I had no clue how to do it. I spend hours reading about 3D model making and sculpting techniques until I found an adequate method for my idea. I ended up making several silicon moulds for a complex resin sculpture.

I think the style is not that important, it’s the idea which determines the method.

Lastly, have you ever thought of creating a story board with those signs and symbols? We think that could become a real hit if given a good script.

Yes! I agree with you, it would make a great little clip. I always wanted to make a small animation out of it, however I haven't found the time to do so yet. I never worked with animation, apart from stop motion, but I would be very interested in learning it. That's one of the next skills I would like to acquire. Originally it was one of the first design exercises I did during my university preparation. It was stuck into an old portfolio for several years. I found them while I was looking through some old stuff and only then noticed how strong this piece was. All the frames were hand drawn on card so I scanned them in and decided to include them in my online portfolio. It really deserves to be revisited. I'm sure ill get back to it at some point.

www.laissezfairelondon.co.uk

ART

DESIGN HAS COME HOME THE LONDON DESIGN FESTIVAL 2012

B

efore I start, I want to say thank you to the London Design Festival for saving me a fortune.

Abandon all thoughts of going to New York, throw those tickets to Paris in the bin, let Milan do its thing from a quiet distance and tell Tokyo where to go because London has regained its crown as the capital city of design and there’s no need to go anywhere else ever again.

Ten years on from its inception, the London Design Festival has more than established itself as the focal point of the Capital’s design scene, it’s become a crucial date in the calendar of anyone who’s anyone in the international design industry. Oh, and Boris like’s it too.

Last year’s festival featured over 300 events and this year it’s taken it upon itself to be to design what the Olympics was to international sports and what the Jubilee was to old people with spectacularly ostentatious hats. In Brompton, eight emerging practices, representing seven European cities demonstrated how London’s design draws its influence from all over the world. At The V&A, a new section was opened to the public; the Henry Cole Grand Staircase. And in the very heart of the Capital, Trafalgar Square, the Be Open Sound Portal explored a new element of design; ‘design you can’t see’.

For one a week and a half in September, London reminded the world of its contribution to global design. Here is just a peak at that great edifice.

Blurring the line between high art and practical design, Mimicry Chairs by Japanese design studio Nendo interact with the audience, the space and the exhibits in the Festival’s design hub, the V&A museum.

Made from a simple pressed and punched metal, the chairs are so simple in their design they’re almost a Platonic form. Their positioning around the museum is designed to make you appreciate the exhibits in new ways.

The very fact of being limited to one direction in one location manages to achieve that with some striking results.

NENDO’S MIMICRY CHAIRS

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ART

FISHBOWL BY PSALT AT TENT LONDON

Tent London has established itself as a key part of the Festival, a place to go to get the high concept ideas condensed into something you can have. This year, bright colours are the must-tick box, alongside simple geometric patterns and an unnerving obsession with knitting and wool.

Psalt’s Fishbowl is a great example of the fun that is at the forefront of consumer design, whilst also nodding to the precariousness of modern design amid questions of sustainability and oversaturation.

And it retails for under £300 which can’t be said of many pieces at the Festival.

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ART

AL_A’S BENCH OF PLATES Part of a collaboration with lighting and furniture producers Established and Sons, AL_A’s Bench of Plates explores the restrictions and possibilities of ceramic. The result is a surprisingly modern piece which somehow maintains its links to the history of the material.

Much of this year’s Festival explored the notion of design’s future as an extension of it’s past, a continuity that’s always present in AL_A’s work.

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ART

Words by Jon Madge

It feels like there’s never been a better time to be a young designer. This year’s Festival gave the industry’s new blood more chances to shine than ever before and The Wonder Cabinets of Europe was one of the best and quirkiest of the bunch.

Presented by Livia Lauber and Maria Jeglinska, seven emerging design studios were given identical cabinets to fill with a final piece and anything of interest gathered in its creation. The result is a precise look at the creative process that leads to great design.

STUDIO INSIGHTS, THE WONDER CABINETS OF EUROPE

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3 1 0 2 s e rs u co s rt A ve ti a re C S E WA Offering some of the best creative arts courses in London, taught by highly qualified and professional tutors.

Enrol now for January 2013

Ceramics Jewellery

Venues across Westminster

Fashion Graphic Design Glass Floristry Photography Visual Art Video & Film Music

Westminster Adult Education Service offers full and part-time study in qualification and general interest courses across a huge range of subjects. Encouraging students to explore a wide range of creative and conceptual skills, our arts courses combine practical, hands-on experience with research and design skill development in an industryleading and inspiring setting. Be inspired and book your 2013 place now!

www.waes.ac.uk info@waes.ac.uk 020 7641 8116

BOOK REVIEW

Words by Britt Pflüger: literary scout, agent and literary consultant at Hardy & Knox: www.hardyandknox.com

N A R C O P O L I S - Jeet Thayil

N

arcopolis, Indian-born poet Thayil’s literary debut which has just missed out on the Booker, opens with the first-person narrator Ullis returning from New York to Bombay after a prolonged absence, ‘to sort himself out’. As he revisits his old haunts, the now defunct khanas (opium dens) and slums, he remembers his past in the city, and the characters whose lives he shared back then.

The late seventies: Bombay is being terrorised by a serial killer who seeks out his victims among the destitute and the desperate on the city’s streets.

Ullis’ regular khana is owned by Rashid, a Muslim who lives above the den with his various wives and children and has rescued the beautiful eunuch prostitute Dimple from her miserable life at a nearby brothel. Dimple was castrated and sold by her mother to her madam at the age of nine, and has known nothing much outside the brothel since then, with opium her only release. Her best friend and confidant is Mr Lee, an opium ‘doctor’ who runs his own khana and tells Dimple all about his past in China, how he grew up with a fervently communist and somewhat suicidal mother and his father, a subversive novelist who died after being imprisoned as a dissident. Later, when he worked for the government, Lee fell in love with Pang Mei, an official’s assistant, but they were caught up in political intrigue, Mei was sent away and Lee abducted and tortured by mutineers, and he fled to Bombay to follow in the footsteps of his illustrious ancestor, an admiral who ended his days there.

When Lee dies, he makes Dimple promise to return his ashes to China, lest his soul get stuck in limbo.

But Dimple has her own problems. Although now more or less safely set up in an apartment halfway up the stairs between Rashid’s khana and his family home, she is haunted by the ghosts from her past (mostly the abandonment by her parents), and, as the local drug market moves from opium to garad, a cheap version of heroin from Pakistan, she becomes more and more addicted – just like Rashid himself.

‘I knew what a lucky life I was given and I understood everything. . . most of all, how wrong it was to withhold affection from those who need it most, which is to say, everyone.’

Faber & Faber Published 304pp £12.99

Ullis learns some of this when he returns ten years later and revisits Rashid’s former khana, now a call centre run by his devout son. Rashid is a broken man, haunted by the ghost of the only woman he ever loved: Dimple.

Another regular at the khana is Salim, a rent boy-turned-pickpocket-turned-cocaine- dealer who, after years at the mercy of his pimp and boss, finally flips and stabs him to death, only to be killed in police custody.

Then there is Rumi, a Brahmin married to a ‘slovenly’ Jain from a lower caste. Rumi too graduates from opium to heroin and takes out his anger and violence on innocent women. When another addict dies from an overdose at the khana they both frequent, Rumi is imprisoned and offered the choice between prison and rehab. He chooses the latter, a centre run by the mysterious sage and ex addict Soporo, but soon embarks on a cycle of running away and asking for sanctum – until a fateful encounter with a homeless guy in the shape of Soporo (who may or may not be Mr Lee’s restless ghost) finally reveals the identity of Bombay’s notorious serial killer...

www.laissezfairelondon.co.uk

Quite fittingly, Narcopolis has a certain hypnotic quality. After the first fifty pages or so – which are at times disjointed and confusing as it is difficult to figure out the time scale – Thayil finally finds his rhythm, and as the narrative begins to flow, the reader is drawn into the seedy world of its characters. The author is especially good at evoking the sights, smells and sounds of Bombay’s underbelly, and the result is one which is very hard to leave alone. But this does not mean that Thayil writes without fault: it is hard to empathise with some of his characters, he digresses too much at times, and the narrator has virtually no back story. One might even argue that Dimple (or possibly Lee) would have made a far more compelling narrator, seeing as they are the most three-dimensional and sympathetic characters here, not to mention the most intriguing ones. In fact it is difficult to conceive of a single reason for telling the story from Ulli’s perspective.

Nonetheless, there is much to recommend here: the seedy setting with its gallery of bizarre characters, some of whom are truly moving, the subtle humour and the rich prose. To sum up, Narcopolis, ultimately a story about love transcending drugs, violence, sex and religion, is fascinating and frustrating in equal measures.

TUNES C O F I

There’s more great unsigned music from around London every Sunday afternoon at: www.cofiradio.co.uk/listen.

And if you want to be on the show, just go to the site and get in touch.

Words by Jon Madge:

R A D I O

Why bother with live music?

P

retty much everyone has a smart phone, an iPod or something else that has their entire music collection on it. The point of that is to listen to what you want when you want and live music doesn’t offer that.

Then there’s sound quality. Why see a band live, in a poorly-soundproofed room in an old pub, with someone shouting at their girlfriend trying to find out what drink she wants, when you could listen to their album on your noise-cancelling headphones from the comfort of your bedroom. And that raises the whole issue of comfort too.

It seems like that’s quite an important question to get an answer to at the moment because what it offers is more or less the opposite of everything else music listeners seem to want.

So, why bother with live music? The answer is in that speech that turns up in every indie movie of the last decade, the one the quirky girl gives when she puts on her records and talks about how great vinyl is. It’s in the imperfections, the humanity, those little mistakes and one-offs that remind us that music is something we can get involved in, not something someone else does to us.

With all that in mind, Cofi Radio, London’s spiritual and online home for unsigned music, decided to put on a live gig and found some truly great bands in the process. Here’s a few of them (plus a couple that have appeared on our podcast since).

Scott McMahon Some people play music on stage, others perform.

Scott McMahon is definitely in the second category.

Off stage Scott seems like quite an ordinary person, he’s nice and funny and can tell a good story. Get him on stage, however, and he transforms into the kind of captivating presence that most historians agree died with Elvis.

Musically Scott is a master of writing songs you’ll swear you’ve heard before, devoid of clichés yet somehow perfectly describing your life. They’re stories of growing up, getting hurt and finding out about life that lose nothing in the retelling. http://soundcloud.com/scott-mcmahon

www.laissezfairelondon.co.uk

Skyline SkylineSkyline live have the kind of tireless energy that only really comes from continuously gigging, that or having an ironfisted manager. Their sound sits somewhere between the rockier end of pop and the early nineties indie that gave way to grunge.

If that descriptions seems to defy being pinned-down, that’s Skyline. Their lineup features Spanish guitar that sounds like Santana on a Red Bull binge, funk-inspired bass and a drummer that single-handedly undoes all the bad press that Meg White gave female drummers. All of that behind a voice that is equal parts pop, soul and good old rock’n’roll. http://www.youtube.com/SkylineMusic23

www.laissezfairelondon.co.uk

Ye a h a n d s h e h a s r e d l i p s t o o Having one of the best names in music would be enough for some bands, but not Yeah and she has red lips too. They’re also the purveyors of some of the finest atmospheric punk-inspired guitar music you’re likely to hear in London.

Their recent debut single, ‘I like it, I like, I’, is a furious mixture of pounding drums and screaming guitars. It sounds like the soundtrack to a film that’s not yet been written, but you’d better believe it’s going to involve sexy vampires with machine guns on motor bikes.

http://www.yeahandshehasredlipstoo.com/

www.laissezfairelondon.co.uk

Scarlett Parade If Jack White played piano for Led Zepplin while the Black Keys harmonised on vocals and guitar, that’s about the closest another band could get to sounding like Scarlett Parade. If that sounds like a pretty big dose of praise, it is. It’s also thoroughly deserved.

The frontmen, Geoffrey Tinkler and Adam Jones, are the two piece that the band blossomed out from, and their history together comes out as an effortlessly comfortable back and forth in their songs. Tinkler’s vocals are played like an instrument, alongside his dramatic piano riffs and Jones’ classic ‘70s RnB guitar style.

http://www.scarlettparade.com/

www.laissezfairelondon.co.uk

FEELING GOOD A B O U T F I L M S BEST FILMS OF 2012 The films are in no particular order. And it is not over yet... SILVER LININGS PLAYBOOK, TROUBLE WITH THE CURVE, SEVEN PSYCHOPATHS and SAFETY NOT GUARANTEED still to come.

A M O U R Directed by Michael Haneke Starring: Jean-Louis Trintignant. Emmanuelle Riva

Directed by Gary Ross Starring: Jennifer Lawrence. Josh Hutchinson

Winner of the Palme d’Or at Cannes, AMOUR concerns an octogenarian couple Georges (Jean-Louis Trintignant) and Anne (Emmanuelle Riva) attempting to cope with a stroke that Anne has had which has left her partially paralysed and speechless. Set in their apartment, it is a painful study of Georges observing the day-by-day deterioration of his wife’s condition. Visits from their friends and their daughter (Isabelle Huppert) hinder his decision on what to do about his wife. It is an extraordinary film of tenderness and courage.

A foreboding vision of a futuristic society ruled by a government that broadcasts an annual TV Show “The Hunger Games” to a desensitised nation in celebration of defeating and eliminating a rebellion by a poor district. In its 73rd year, the games with the remaining 12 districts, stages the compulsory Reaping Day, where a young male and female from each district are chosen by lottery to compete in the games against each other in a fight to the death. The Hunger Games is a powerful reflection on our society today and the inherent dangers of having corrupt leaders, reality television shows, violence filled video games and movies, and a generation spaced out on texting and social networks, anything that will distract them from reality and getting a life for themselves.

W O O D Y A L L E N SHADOW DOCUMENTARY DANCER Directed by Robert Wiede Featuring: Woody Allen

Directed by James Marsh Starring: Clive Owen. Andrea Riseborough

It took three years to get Woody Allen to allow Robert Wiede to make this film on his life and the result is a glowing reverence to the cinema’s most prolific film writer and director that will satisfy his thousands of devotees the world over. Woody allows access to his every day world: rummaging through scraps of paper with scribbled ideas which he discards one after another until he finds what may be the core of his next movie. He types out his screenplays on a 60 year old Olympia typewriter, one film a year for the past thirty-six years. Once he has finished one script he starts immediately on the next. He still remains his sternest critic: “I hope that I may just make one that comes close to being great but that has never happened yet.” He has total control on all of his films and he is complimented by Diane Keaton, Scarlett Johansson, Naomi Watts and Sean Penn, as being an actor’s director and a dream to work with. A longer three hour version of the film is available on DVD.

Few films are perfectly bookended: having an intriguing opening and a totally believable yet surprising ending – SHADOW DANCER does so impressively. With minimal dialogue the film starts by showing us 12 year old Colette, convincingly played by Niamh-O’Rourke, who is told by her father to go to the shops to get him cigarettes, but more interested in making a bead necklace, she bribes her younger brother to go instead. A few moments pass and then gunfire is heard and the body of her brother is carried into the house. Colette, riddled with guilt, can only stare at her brother’s lifeless body as her father slams the door on her. Fast forward to 1993, Colette ( Andrea Riseborough) is leaving a suitcase on a staircase at an underground railway station but is apprehended by two armed men and taken into custody. SHADOW DANCER is a thought provoking film that commands your attention from beginning to end.

www.laissezfairelondon.co.uk

Words by Brian Mills: Follow Movies-by-Mills at:

http://on.fb.me/P4yqhN

UNTOUCHABLE Directed by Oliver Nakache & Eric Toledano Starring: Francois Cluzet. Omar Sy

The story is of two socially complete opposites; an aristocratic quadriplegic Phillipe (Francois Cluzet) and an offender from a poor neighbourhood Driss (Omar Sy). Phillipe chooses him as a carer from a long list of applicants because of his attitude towards his disability: he does not pity him but instead makes fun of his handicap without offending him – he makes him laugh. They gradually find common ground: their love of speed and adventure, beautiful women, music, though not the same type. Driss makes Phillipe feel good and the film has the same effect on us; it became the second most successful film of all-time in France, winning over 300 million patrons. I have no hesitation in choosing it as the Best Film of the Year.

T H E

R U B Y S P A R K S Directed by Jonathan Dayton & Valerie Faris Starring: Paul Dano. Zoe Kazan

With the pedigree of the makers of “Little Miss Sunshine” behind this romantic fantasy, and starring real-life couple Paul Dano and Zoe Kazan, the latter also writing the screenplay, “Ruby Sparks” delivers and lives up to its revered hype.

Calvin (Paul Dano) is a successful author suffering writers block until he suddenly dreams of a girl he names Ruby Sparks (Zoe Kazan) and starts writing about her and begins to fall in love with his own creation and wills her into reality. The film beautifully captures a writer who is God of his creation to the point that he can write about her behaviour on his typewriter and watch it manifest before his eyes. If he does not like it, he just changes it by rewriting it. But Calvin has to learn to let go of controlling Ruby so she has an identity of her own for their relationship to work. It is charming and original.

H U N T

Directed by Thomas Vinterberg Starring: Mads Mikkelsen. Thomas Bo Larsen

An emotive story about a likeable kindergarten teacher Lucas (Mikkelsen) who is trying to get his career on track after a messy divorce leaving him with only limited visiting rights to see his son. But then suddenly his world falls apart when he is accused of indecent behaviour in front of a child and is suspended from duty. The girl is the daughter of a friend, who threatens to kill him if he touches her again, but Lucas’s plea of innocence is ignored and he is ostracised by the entire village and suddenly finds that he fighting for his life. The performance by Mads Mikkelsen won him the coveted Palme d’Or award at Cannes.

S KY F A LL Directed by Sam Medes Starring: Javier Bardem. Judi Dench

It is fitting that in Bond’s 50th anniversary year, SKYFALL, the latest in the franchise , should be the best – and it is. The reason is that for the first time we have a Bond film that is characterdriven: we see their vulnerabilities; we care about them, they are no longer stereotyped sandwich boards. With SKYFALL, Sam Mendes takes the risk of reaching for the sky without falling.

When Bond reappears seemingly resurrected after a mishit, his intelligence co-ordinator Mallory asks “Why didn’t you stay dead?” It is sound advice when tests prove how both physically and mentally unfit he is to return to duty that he can’t even shoot straight. M too is facing problems of guilt about decisions she has made and some she is making which may be extinct. And there is Bond’s adversary, a former agent himself, Silva, though obviously deranged and very dangerous, we feel empathy towards him when his past suffering is horrifically revealed. At last a Bond film that is confident enough to take its tongue out of its cheek.

www.laissezfairelondon.co.uk

THE JOKER

LAUGHTER TO THE BRAIN IS LIKE EXERCISE TO THE BODY

Illustrated by: Alvaro Arteaga www.alvaroarteaga.com

Thanks for all the jokes you have sent in. You lot clearly love this page! Try to keep them clean though London, some of these are really pushing it. Sorry for any offence caused.

Vampire bat A vampire bat came flapping in from the night covered in fresh blood and parked himself on the roof of the cave to get some sleep.

The Other Side Once upon a time, there was a river. The Nile River, to be exact. On one side of the river lived the rabbit, and on the other side lived the bear.

Pretty soon all the other bats smelled the blood and began hassling him about where he got it.

One fine day, the bear was sitting on a stump, enjoying his breakfast of berries. Then he heard someone yelling at him. It was the rabbit.

He told them to go away and let him get some sleep but they persisted until finally he gave in.

"OK, follow me" he said and flew out of the cave with hundreds of bats behind him.

Down through the valley they went, across a river and into a forest full of trees.

Finally he slowed down and all the other bats excitedly milled around him.

"Now, do you see that tree over there?" he asked.

"Yes, Yes, Yes!" the bats all screamed in a frenzy.

"Good" said the bat, "Because I sure as hell didn't!"

Monkey Organization An organization is like a tree full of monkeys, all on different limbs at different levels.

Some monkeys are climbing up, some down.

The monkeys on top look down and see a tree full of smiling faces.

The monkeys on the bottom look up and see nothing but assholes.

New Relationship Book "My wife suggested a book for me to read to enhance our relationship. It's titled: 'Women are from Venus, Men are Wrong.'" - Unknown

"Hey! Hey, Teddy, get your butt over here. I've got something to show you!"

"Not now! I'm eating."

"Oh come on!" said the rabbit. "It's really important."

"No way."

"Please. It's urgent."

So the bear decided to go all the way over the wide river.

It took him all day and all night to get over to the other side. He nearly drowned. And when he finally got there he was groaning and panting, and wheezing for air.

"Well, rabbit," he panted. "What did you want to tell me?"

"Hey, Teddy," the rabbit began, "look how many berries there are on the other side of the river."

Living with the Wolf Man The Wolf Man comes home one day from a long day at the office. "How was work, dear?" his wife asks.

"Listen! I don't want to talk about work!" he shouts.

"Okay. Would you like to sit down and eat a nice home cooked meal?" she asks nicely.

"Listen!" he shouts again. "I'm not hungry! I don't wanna eat! All right! Is that all right with you? Can I come home from work and just do my own thing without you forcing food down my throat? Huh?" At this moment, the Wolf man started growling, and throwing things around the apartment in a mad rage.

Looking out the window, his wife sees a full moon and says to herself, "Well, I guess it's that time of the month".

www.laissezfairelondon.co.uk

The Hunting Dog Chester and Earl are going hunting. Chester says to Earl, "I'll send my dog out to see if there are any ducks out in the pond. If there aren't any ducks out there, I'm not going hunting."

So he sends the dog out to the pond. The dog comes back and barks twice. Chester says, "Well I'm not going to go out. He only saw two ducks out there."

Earl says, "You're going to take the dog's barks for the truth?" Earl doesn't believe it, so he goes to look for himself. When he gets back he says, "I don't believe it where did you get that dog? There really are only two ducks out there!"

Chester says, "Well, I got him from the breeder up the road. If you want, you can get one from him, too."

So Earl goes to the breeder and says he wants a dog like the one his friend Chester has. The breeder obliges and Earl brings the dog home, tells it to go out and look for ducks. Minutes later the dog returns with a stick in it's mouth and starts humping Earl's leg.

Outraged, Earl takes the dog back to the breeder and says, "This dog is a fraud. I want my money back!"

The breeder asks Earl what the dog did. So Earl tells him that when he sent the dog out to look for ducks, it came back with a stick in its mouth and started humping his leg.

The breeder says, "Earl, all he was trying to tell you was that there are more fucking ducks out there than you can shake a stick at!"

HUMOUR-SCOPES

Artist: Yoanna Pietrzyk in collaboration with Facehunter. www.yoannapietrzyk.carbonmade.com / www.joannapietrzyk.carbonmade.com

The second largest planet, Saturn, is announcing its entrance into the sign of Libra, which spells boldness, action, and big steps forward. This is no time to hang about, so take a good look at yourself and make that change. As usual, a disclaimer is needed as these are only the premonitions of our grumpy star gazer and not the views of Laissez Faire!

Aries

Appealing to the council is like playing chess with a pigeon. You might be a chess grandmaster, but the pigeon will always knock all the pieces over, shit on the board and then strut around triumphantly. Just take it and move on.

Taurus

Gemini

Tattoos done by heavily drunk tattoo artists are well starred for about a week starting 10th September.

Stacking cans of vegetables neatly in rows, alphabetically and all the right way up, is well starred, although if you find yourself doing this on Tuesdays get help from an Aries psychiatrist if you find you are also sharpening knives too much.

Slow moving traffic whilst your vehicle is covered in flags of some sort is very well starred this month, especially when driving to or from concerts, sporting events and extremist political gatherings.

Libra

Sleeping bag onesies (with the thick insulated hood) are about to become espically well starred.

Obviously they are superb for all night camp fire get together’s where you can literally drop off to sleep where you sit singing the thirtieth verse of Kumbaya and awaken open mouthed with tambourine in hand the next morning, but they are also about to become useful in more general situations. They could become a fashion outfit, a bit like Elvis’s onesies in the 70s, predicts Saturn and Neptune, about to conjunct from the 6th of the month.

Sagittarius Scorpio

Vampires, witches and traffic police are well starred this month, especially when parking in dark alleys on the 7th.

Embrace wind, hurricanes and extreme weather anomaly’s in all their forms this month especially when they feature in erotic fiction or advertisements for exotic holidays and fruit.

This month your destiny has a glint in its eye.

This month it’s time to turn to the power of the dice to get an answer: 1 = Continue to wait for a sign from the planets 2 = make a cup of tea or coffee and throw again 3 = Is there some housework you have forgotten to do, maybe some washing?

4 = Have you decided what’s for dinner yet?

Check the freezer, you may need a trip to the shops later 5 = Have a power nap for no more than 20 minutes 6 = Is there a relative you haven’t phoned recently, maybe a trip is needed?

Cancer

Getting advice from an elder, maybe a Fonzie figure, is well starred this month especially on problems that can be looked up quickly on Google.

Capricorn

Doing dangerous things with exciting music playing is about to be embraced by Pisces. It is quite incredible how much easier doing dumb stupid dangerous things is if exciting uplifting music is played either in the background, or on an iPod (make sure your earphones don’t ping out midway).

The obvious songs are Don’t Stop Me Now by Queen or the James Bond theme, says Neptune.

This month your destiny wants to boogie in any 1970’s themed disco.

Leo

Virgo

Little known facts, such as a lemon will float in water but a lime will sink, will impress you from the first Thursday of the month as Saturn starts to follow @ Uberfacts on Twitter.

This month your destiny shines like a newly minted penny.

Swearing in Chinese continues to be your lucky Firefly method of speech this month, especially when there is no chance a Chinese person can hear what you are saying.

This month your destiny feels like it is freaking out during a thorough airport security frisking.

Aquarius

Pisces

Bobbing for apples is about to become well starred from the 13th of the month. Get practice in for Halloween and you will have much to thank the planets for nearer the time; work on your lower back muscles to allow you to stoop until those creaking, pinging and crunching sounds are under control.

You should try a new music on your portable music player, the music you are playing at the moment is making you walk in a strange rhythm.

Don’t just listen to us, take a quick look at the way people are looking at you when you walk by playing that music. Yes, it’s that obvious.

WAES Creative Arts courses 2013 Term 2 courses starting from January

Subject

Ceramics

ime Dayt ening v and erses to cou your suit dy stu

Learn for work or just for fun!

Start

Weeks

Time

Venue

Ceramics and Glazing BTEC Level 1 Award Wheel Throwing Figurative Ceramic Sculpture

09 January 14 January 07 January 12 January

10 10 10 10

18:00 - 21:00 10:30 - 15:30 10:30 - 16:30 10:30 - 15:30

Lisson Grove Lisson Grove Lisson Grove Lisson Grove

Fashion Introduction to Pattern Cutting Introduction to Pattern Cutting Introduction to Pattern Cutting

08 January 14 January 16 January

10 10 10

18:00 - 21:00 09:30 - 15:30 09:30 - 15:30

Senior Street Senior Street Senior Street

Floristry Level 1 Certificate

16 January

20

10:30 - 16:30

Pimlico Centre

Glass Kiln Formed Glass BTEC Level 1 Award

08 January 14 January

10 10

18:00 - 21:00 10:30 - 16:30

Lisson Grove Lisson Grove

Graphic Design Introduction to Web Design Introduction to Creative Graphic Design Introduction to Apple Mac Computers Introduction to Illustrator Introduction to Animation BTEC Award in Graphic Design Level 1 BTEC Award in Graphic Design Level 1 BTEC Award in Interactive Media BTEC Diploma in Graphic Design Level 2 BTEC Diploma in Graphic Design Level 3

15 January 16 January 16 January 16 January 15 January 16 January 14 January 14 January 12 January 19 January

10 10 4 10 10 10 10 10 36 36

14:00 - 17:00 09:00 - 13:30 10:00 - 13:00 14:00 - 17:00 10:00 - 13:00 18:00 - 21:00 10:00 - 16:30 10:00 - 16:30 10:00 - 16:30 10:00 - 16:30

Pimlico Centre Pimlico Centre Pimlico Centre Pimlico Centre Pimlico Centre Pimlico Centre Lisson Grove Pimlico Centre Pimlico Centre Lisson Grove

Jewellery BTEC Level 1 Award Stone Setting

16 January 10 January

10 10

10:30 - 16:30 18:00 - 21:00

Lisson Grove Lisson Grove

Music DJ Skills Development Create Podcasts and Radio Features NCFE Level 2 Certificate in Music Technology

16 January 21 January 07 January

16 12 21

18:00 - 20:30 18:00 - 20:30 10:30 - 16:30

Lisson Grove Lisson Grove Lisson Grove

Photography Photoshop Essentials Darkroom Techniques Introduction to Darkroom Photography C & G Certificate in Studio Photography BTEC Award in Photography BTEC Award in Photography Level 1 Photoshop for Photographers Level 2

17 January 24 January 16 January 22 January 11 January 22 January 17 January

4 8 4 14 10 20 10

10:00 - 16:30 18:00 - 21:00 10:00 - 16:30 10:00 - 16:30 10:00 - 16:30 18:00 - 21:00 18:00 - 21:00

Pimlico Centre Lisson Grove Lisson Grove Lisson Grove Lisson Grove Lisson Grove Lisson Grove

Video and Film Screen Acting Scriptwriting for Film Film Directing Beginners Film Directing Intermediate Video Editing: Final Cut Pro Beginners Drama Video Production Video Camera Techniques Motion Beginners

15 January 17 January 17 January 28 February 11 January 15 January 2 February 27 February

10 10 5 5 9 10 6 5

18:00 - 20:00 18:00 - 21:00 10:30 - 17:00 10:30 - 17:00 10:00 - 17:00 10:30 - 17:00 10:00 - 16:00 18:00 - 21:00

Venture House Venture House Venture House Venture House Venture House Venture House Venture House Venture House

Visual Art Art and Drawing Art and Drawing

15 January 15 January

10 10

13:00 - 15:00 10:00 - 12:00

Abbey Road Wharncliffe Gardens

Drawing and Painting for Beginners

www.waes.ac.uk info@waes.ac.uk 020 7641 8116

11 January

10

10:00 - 13:00

Lisson Grove

lling o r n E now!

N cenew at L tre Groisson NW ve 8!

CLASSIFIEDS -- FASHION -- ART -- DESIGN

BIRKBECK UNIVERSITY OF LONDON For full range of courses visit: www.bbk.ac.uk Tel Helpdesk: 020 7631 6316

ART & ARCHITECTURE SHORT COURSES 2012/2013 ENTRY SUBJECT

START

CODE

TIME

LENGTH

VENUE

Arabic Calligraphy: Practising Naskh Script

24/09/2012

FFWO034H4ACB

18:00 - 20:00

11 meetings

British Museum

Architecture and Society in Eighteenth-Century England

24/09/2012

ARVC030S4ACB

18:00 - 20:00

22 meetings

Central London

Architecture, Landscape and Modernity, 1890-1940

20/05/2013

ARVC136H4ACB

10:30 - 16:30

5 meetings

Central London

Art and Architecture in Sixteenth-Century Rome and Venice

26/09/2012

ARVC028S4ACB

18:00 - 20:00

22 meetings

Central London

Art and Architecture of Ancient Greece and Rome

25/09/2012

ARVC023S4ACB

14:00 - 16:00

22 meetings

Central London

Art and Society in the Age of Alexander the Great

25/04/2013

ARVC126H4ACB

18:00 - 22:00

11 meetings

Central London

Art in Rome 1590-1650

25/04/2013

ARVC083H4ACB

18:00 - 22:00

11 meetings

Central London

Art in the Shadow of War: Britain 1918-1939

08/01/2013

ARVC084H4ACB

14:00 - 16:00

11 meetings

Central London

Art Nouveau: Art and Design in Eastern Europe

25/09/2012

ARVC127H4ACB

14:00 - 16:00

11 meetings

Central London

Beauty and Magnificence: The Imperial Arts of the Ottoman Court

25/09/2012

FFWO116H4ACB

11:00 - 13:00

11 meetings

Central London

British Design

25/09/2012

ARVC135H4ACB

18:00 - 22:00

11 meetings

Central London

But is it Art? Art and the Masses from Courbet to Tate Modern

24/09/2012

ARVC130H4ACB

18:00 - 22:00

11 meetings

Central London

Chinese Brush Painting for Beginners

27/09/2012

FFWO123H4ACB

11:00 - 13:00

11 meetings

Asia House

Chinese Calligraphy

27/09/2012

FFWO129H4ACB

18:00 - 22:00

11 meetings

British Museum

Collectors and Collections in London

10/06/2013

ARVC140H4ACB

11:00 - 17:00

5 meetings

Central London

Discovering Galleries and Museums

27/09/2012

FFAH011N0ACS

11:00 - 13:00

10 meetings

Central London

Discovering Galleries and Museums: The Modern Period

24/04/2013

FFAH018N0ACS

11:00 - 13:00

10 meetings

Central London

Exhibiting Now: Art in and Beyond the Museum

18/05/2013

FFAH241H4ACB

10:30 - 16:30

4 meetings

Bishopsgate Institute

Exploring London’s Past: Archives, Architecture and Oral History

08/10/2012

SSHC031H4ACB

18:30 - 20:30

10 meetings

Central London

Foundation in History of Architecture and Landscapes

24/09/2012

FFAH004S4ACB

14:00 - 16:00

22 meetings

Central London

Foundation in History of Architecture and Landscapes

25/09/2012

FFAH004S4BCB

18:00 - 22:00

22 meetings

Central London

Foundation in History of Art

24/09/2012

FFAH002S4ACB

18:00 - 20:00

22 meetings

Central London

Foundation in History of Art

25/09/2012

FFAH002S4BCB

11:00 - 13:00

22 meetings

Central London

Foundation in History of Art

26/09/2012

FFAH002S4CCB

18:00 - 20:00

22 meetings

Central London

Foundation in History of Art

27/09/2012

FFAH002S4DCB

18:00 - 20:00

22 meetings

Central London

Foundation in History of Art

09/01/2013

FFAH002S4ECB

14:00 - 16:00

22 meetings

Central London

From Hogarth to Reynolds: English Art of the Eighteenth Century

10/01/2013

ARVC129H4ACB

18:00 - 20:00

11 meetings

Central London

Gods and Saints: Introducing the Arts of India

22/04/2013

ARVC139H4ACB

18:00 - 20:00

11 meetings

British Museum

Hidden Pleasures, Public Lives: Introduction to Japanese Prints

24/09/2012

ARVC125H4ACB

18:00 - 20:00

11 meetings

British Museum

History, Memory and Post-War Art

27/09/2012

ARVC132H4ACB

11:00 - 13:00

11 meetings

Central London

Improve Your Research Skills in World Arts and Artefacts

06/10/2012

ARVC068N0ACS

10:00 - 16:00

1 meeting

Central London

Improve Your Research Skills in World Arts and Artefacts

19/01/2013

ARVC068N0BCS

10:00 - 16:00

1 meeting

Central London

Improve Your Research Skills in World Arts and Artefacts

04/05/2013

ARVC068N0CCS

18:30 - 21:00

1 meeting

Central London

Interpreting the Tower

02/02/2013

FFHI199H4ACB

10:30 - 16:30

5 meetings

Tower of London

Introductions: Learning to Look (Visual Arts and Media)

02/10/2012

FFHE024S41CC

10:00 - 13:00

15 meetings

Rosetta Art Centre

Introduction to European Art before 1800

10/10/2012

AHVM058S4AAA

18:00 - 19:30

20 meetings

Central London

Introduction to Modern Art

08/10/2012

AHVM034S4AAA

18:00 - 19:30

20 meetings

Central London

Introduction to the Visual Arts: Forms and History

05/02/2013

ARVC105H4ALB

10:00 - 13:00

8 meetings

Rosetta Art Centre

Introduction to World Arts and Artefacts: Africa

10/01/2013

ARVC008H4ACB

18:00 - 20:00

11 meetings

British Museum

Introduction to World Arts and Artefacts: The Americas

27/09/2012

ARVC011H4ACB

18:00 - 20:00

11 meetings

British Museum

Introduction to World Arts and Artefacts: West Asia

07/01/2013

ARVC009H4ACB

18:00 - 20:00

11 meetings

British Museum

Investigating the Archive: Photographic Collections of London

12/01/2013

FFWO099H4ACB

10:30 -

11 meetings

The Photographers’ Gallery

Iznik Tiles: Floral Motifs in Dynamic Arrangements

10/01/2013

FFWO115H4ACB

11:00 - 13:00

11 meetings

Asia House

Key Concepts in Cultural Analysis: The Production of the Human

10/10/2012

ENHU008S4AAA

18:00 - 19:30

22 meetings

Central London

Media Genres: Reporting the Arts

25/04/2013

FFME043H4ACB

19:00 - 21:00

11 meetings

TBA

Museums and the Collecting of World Arts

25/04/2013

ARVC012H4ACB

18:00 - 20:00

11 meetings

British Museum

New Light on Seventeenth-Century Dutch Painting

24/09/2012

ARVC123S4ACB

11:00 - 13:00

22 meetings

Central London

Psychoanalysis and Art

10/10/2012

FFPA018H4ACB

10:30 - 13:00

9 meetings

Birkbeck, Central London

Psychoanalysis and Art

01/05/2013

FFPA018H4BCB

10:30 - 13:00

9 meetings

Birkbeck, Central London

Redefining Renaissance Art: Italy and the Netherlands

24/09/2012

ARVC141S4ACB

11:00 - 13:00

22 meetings

Central London

Study Skills for Art History Students

27/10/2012

FFAH001N0ACS

10:30 - 16:30

1 meetings

Central London

Study Trip to Moscow

20/05/2012

ARVC137H4ACB

-

7 meetings

TBA

Study Trip: Vienna 1900 and Beyond

15/04/2012

FFAH272H4ACB

-

7 meetings

TBA

The Alternative Tradition: Realism in Twentieth-Century Art

24/09/2012

ARVC106H4ACB

18:00 - 20:00

11 meetings

Central London

The Art of Islamic Pattern I: An Introduction

25/04/2013

FFWO041H4ACB

18:00 - 20:00

11 meetings

British Museum

The British Empire in Art and Architecture

25/09/2012

ARVC138H4ACB

18:00 - 20:00

11 meetings

Central London

The English Town

11/05/2013

ARVC080H4ACB

10:30 - 16:30

5 meetings

Central London

The Russian Experiment in Art

09/01/2013

ARVC134H4ACB

18:00 - 20:00

11 meetings

Central London

The Victorian Garden

26/09/2012

ARVC092S4ACB

18:00 - 20:00

22 meetings

Central London

What’s the Point of an Art Museum?

23/04/2013

ARVC104H4ALB

10:00 - 13:00

8 meetings

Rosetta Art Centre

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