ARTS AND CULTURE

The Design Museum Amy: Beyond the Stage

Celebrate the creativity and legacy of one of the great artists of our time in this first major retrospective exhibition on the British musician Amy Winehouse at the Design Museum.

Step backstage and relive iconic performances, examine her eclectic style and explore her creative process, from concept to stage . Marking the 10-year anniversary of Amy’s death, the exhibition delves into her emergence as an artist, the musical influences that she drew on, her key albums Frank and Back to Black, and the story behind her iconic beehive, as well as many of her most memorable fashion moments.

Meet the incredible musical artists who influenced Amy’s career from Dinah Washington to Frank Sinatra, Sarah Vaughan to The Supremes and find out about the range of genres she drew on, from jazz to 1960s pop. This autumn, the Design Museum presents Amy: Beyond the Stage, a celebration of a cultural icon that the world lost too soon. Opening on Friday 26 November 2021, the first major retrospective exhibition on Amy Winehouse explores the creative process, powerful music and unforgettable style of a musician whose work drew a unique line between genres such as Jazz and R&B, through to artists such as The Ronnettes and Mark Ronson, designers such as D&G, Moschino and more. Born in North London, Amy showed a passion for music from a young age, later attending the Brit School and recording her first demo aged sixteen. Starting at the early stages of her career, visitors can follow Amy’s rise to stardom; get to know Amy through previously unseen personal items including her teenage notebooks, photographs and handwritten lyrics; then explore her love of music, from jazz to soul, R&B to hip-hop, and her down- to-earth enthusiasm for vintage fashion, design and culture.

One of the most beloved artists of the early noughties, Amy’s unmistakable voice and confessional lyrics have resonated with audiences across the globe. From jazz to soul, hip hop to R&B, the exhibition pays tribute to Amy’s voice, her authenticity and her ability to cross genres by drawing on a rich range of music influences – including Dinah Washington, Sarah Vaughn, Aretha Franklin, Frank Sinatra, the Shagri-Las, the Ronettes, Motown, Salt-N-Pepa, Lauryn Hill, Erykah Badhu, The Specials, Mark Ronson, Salaam Remi and more.

Priya Khanchandani, Head of Curatorial and Exhibition Curator said:

“Amy’s amazing voice, confessional lyrics and provocative manner made her one of the most important artists of our time. With a sound characterised by 1960s American pop and jazz fused with soul and R&B, she resisted the singular nature of genre, and this was reflected in her image. Although outwardly, Amy defied the notion of design and was incredibly down-toearth, she had an unmistakable style and drew on a curated set of eclectic and diverse influences. This exhibition pays tribute to the collage of references Amy drew on and which made her a character that was and remains larger than life.” Naomi Parry, Special Advisor, Amy: Beyond the Stage said: “I was determined to make an exhibition about Amy happen because I had seen first-hand how she became a global icon. When I approached the museum to realise this ambition they immediately understood that looking at Amy through her creative legacy would create an unforgettable exhibition experience. Often the portrayal of Amy is focused on the negative aspects of her life, while this exhibition will take visitors through all that she achieved and highlight the incredible mark that she left on the lives of her fans all around the world.”

Amy released two albums: Frank (2003) and Back to Black (2008), which sold millions of copies and was the most influential album of its time.

Visitors can experience a studio space inspired by Metropolis recording studio, where Back to Black was recorded, and enter an immersive experience based on the track Tears Dry on Their Own, both created by the renowned set designer Chiara Stephenson, with digital design by Luke Halls Studio and artwork by Studio Moross. Visitors will also have the chance to delve into Amy’s confessional lyrics through her personal annotations and uncover the graphic design stories behind her critically acclaimed albums. The exhibition presents Amy’s distinct personal style through a range of artistic photography and the original outfits she wore during her greatest performances, from high-street clothes to designer brands such as Preen and Moschino for the Brit Awards in 2007, Roberto Cavalli and John Galliano. Covering the Frank and Back to Black eras, see how Amy’s style evolved from the loose-flowing hair and retro wardrobe of the early 2000s to the iconic bold eyeliner, beehive hairstyle and contemporary look that she wore for the launch of her second album. Visitors can see her impact on the fashion world and meet some of the designers who collaborated with Amy, including Fred Perry, and explore the culture behind the artist’s favourite accessories, from her popular ‘dolly pump’ shoes to hair adornments.

In the final section, visitors will delve into Amy’s incredible legacy in both music and design. The exhibition celebrates the ways in which designers and musicians have paid homage to her work, from musical tributes to runway fashion by Karl Lagerfeld and Chanel.

The exhibition, a collaboration with Amy’s family, will see her close friend and stylist Naomi Parry advise the Design Museum on this never-before- seen showcase of how she combined music and design to create her look, style and voice. Amy: Beyond the Stage opens on Friday 26 November 2021 at the Design Museum. Tickets are available through designmuseum.org.

On Show

Candida Höfer: Libraries, Museums and A Theatre Until 28 January 2021

Ben Brown Fine Arts. 12 Brook’s Mews, London W1K 4DG

Libraries, Museums and A Theatre is an exhibition of selected works by legendary German artist Candida Höfer. This is the artist’s eleventh solo exhibition with Ben Brown Fine Arts and eighth solo exhibition at the London gallery. The retrospective presents a selection of quintessential, spectacular photographs of libraries, museums and a theatre, variously located in Austria, England, France, Germany, Ireland, Italy and Russia. These works illustrate her unique ability to capture public spaces that have been deprived of their status as public due to the devoid of human presence. Consequently, there is a sense of looking into an illicit moment or space, whose architectural splendour can only be entirely recognized when in solitude. Amongst the photographs in the exhibition is Villa Borghese Roma I 2012. The photograph features an extraordinary interior of historical importance, as the sculptures situated on the blue plinths were first owned by Galleria Borghese, sold to French collectors, and then loaned by the Louvre to the Galleria. Through Höfer’s lens, the works illustrate her exploration of the psychological effect of architecture. Correspondingly, Höfer exquisitely manages to capture the institutions’ architectural grandeur and history. Images: Höfer, Zisterzienserstift Schlierbach II 2014 & Hofer, Teatro Olimpico Vicenza I 2010 www.benbrownfinearts.com

Hughie O’Donoghue: Deep Water and the Architecture of Memory Until 15 January 2022

New paintings by Hughie O’Donoghue RA mark something of a departure for the artist. Created during the first lockdown, this is the first time he has painted urban landscapes, and the first time he has uses sandbags, instead of the usual canvas, creating works that are far more sculptural than painterly. Deep Water and the Architecture of Memory celebrates the artist’s unique ability to excavate history in an almost archaeological manner in order to investigate contemporary questions of memory and identity. Based on his iPhone shots of the Deptford River, they reference the archaeology and topography of the area close to his London studio – and like time capsules each sandbag ‘canvas’ is also filled with a newspaper printed on the day he took each photo. At the core of this new body of work is the artist’s deep-rooted interest in interrogating the way memory is forged through generations. Drawing on his own memories as a child, the substantial works on tarpaulin exhibited in the show depict the MV Plassy which was wrecked in a storm off the coast of Inisheer in 1960, a recurring motif in O’Donoghue’s practice for over twenty years. Glowing with phosphorescent shades of rusty reds and yellows, the ship seems to witness its own slow demise whilst the sea around it remains a continuously moving yet immutable force. Images: Creek II, 2021 & Prow 2019. www.marlboroughgallerylondon.com

Sarah Maple: The Opposite of a Feminist Until 13 February 2022

GIANT. The Bobby’s Building, The Square, Bournemouth, BH2 5LY GIANT is delighted to present ‘The Opposite of a Feminist’, a solo exhibition of paintings, photographs and films by seminal British artist Sarah Maple. Spanning over 15 years, these are some of the boldest feminist works the artist has ever created, brought together for the first time. Our pick for a day / weekend by the seaside and dubbed “Saatchi-on-Sea” at its launch, GIANT now follows on from inaugural exhibition ‘Big Medicine,’ which featured controversial sculptures by The Chapman Brothers as well as major works by Jim Lambie, Jeremy Deller and Gavin Turk. Here, GIANT makes another bold move, with ’The Opposite of A Feminist’ taking a provocative look at the role of women in the contemporary art world, media and society, through the eyes of one of the naughtiest, wittiest and most reverent artists working today – Sarah Maple. Much of Maple’s inspiration originates from being brought up as a Muslim, with parents of mixed religious and cultural backgrounds. Often using herself as a conduit to challenge stereotypes and normative behaviour, Maple is adept at confronting complex issues that we are all often considering - with wit, irony and a startling honesty. However, in this exhibition we focus exclusively on the potent feminist thread within her wider body of work. Images: Images: Self Portrait with Pocket Square, 2021 & Plug it In Baby, 2012. www.giant.space KENSINGTON & CHELSEA REVIEW PAGE 12

Interview: Wendy Goldsmith

Wendy Goldsmith joined the 19th Century European Art department at Christie’s in London back in the heyday of the ’90s, travelling extensively through Europe and the Middle East to source material – and contributing to Christie’s becoming the dominant auction house for buying and selling 19th Century European Art.

Bold, confident and effervescent, she became Christie’s youngest and only female Auctioneer when she was just 24 and, later, their youngest Director at 29. After being transferred to New York, Wendy took the (then male-dominated) Manhattan scene by storm and brought down her gavel for many world-record prices as International Head of 19th Century European Art. Having now been settled back in London for nearly 20 years, Wendy is now established as a private art consultant. From her Mayfair office, she focuses on Impressionist, Modern and Contemporary paintings and sculpture.Our Culture Team managed to steal some time with her to ask a few questions…

Tell us about your London set up...where are you currently based?

I was a long-time Chelsea resident on Old Church St. I adored those years but being closer to the galleries and auction houses of Mayfair seemed the next step. My office and home is now based across from the old American Embassy, which makes it much easier for clients to drop by - even just for a coffee.

Take us back to your first experiences of the London art world when you first moved here permanently... for how long had you known you would make the move and what was it that most excited you?

I was an intern at Christie’s King Street between my junior and senior year of university in Boston. Incredibly, after three weeks, they offered me a permanent role which, even then, I knew would never be an opportunity to turn down. 15 years later, I left as an International Head of Department to set up my Art Advisory firm, helped by how international London had become.

And are those the things that still excite you about London now?

With travel opening up again, it becomes more and more apparent that London is the centre of the universe; from its restaurants and theatre, to its culture, range of fascinating people and, of course, art. Now more than ever.

We imagine your home is filled with beautiful works of art - do you have a favourite piece?

That’s like asking if you have a favourite child! You have to love your pieces at first sight, and not stop thinking about them until they are yours, otherwise they shouldn’t be in your home. Having said that, I have just been admiring my collection of Francesca Woodman photographs that took a few years to build.

And what about design - is there anything you particularly look for in a design object?

I love amorphic, natural and tactile shapes, so Jean Arp is a favourite sculptor - but when it comes specifically to design, Harry Bertoia is top of my list.

What was your most recent significant purchase (art, design or otherwise)?

I just bought a beautiful work by Jocelyn Hobbie from Fredericks & Freiser in Chelsea New York. I’ve been after her stylish, Lempicka-like figurative pieces for a long time, so am particularly excited.

Many readers will have a desire to learn about art and to start collecting - what advice would you give to any budding collectors starting out on their journey?

You can’t see enough. Go to every exhibition, gallery and museum show you can in order to fine- tune your taste. The auction house viewings are fascinating too, and a wealth of information regarding their offering is now online.

When not visiting galleries or advising clients, where can you be found?

I’m a bit dog obsessed so I’ll be in the park with my girls, or at the latest dachshund meet up. I hope to get involved with fostering as well, once time allows.

Where do you most like to eat, shop and relax in your neighbourhood?

I am a big fan of anywhere with art on their walls so I’m often at 5 Hertford St, with their yummy food and attention to detail. It’s also fun to bring friends or clients from out of town to the London clubs, as they are so unique to this city. I can say the same for Little House as well. Otherwise, I have the best corner shop in town, Selfridges, and once you cross Oxford St, there is a whole additional treasure trove of neighbourhood restaurants in Marylebone.

Now that things are opening up, have you managed to get much travel booked in?

I hit the ground running and have already been to Dubai to see clients and New York for the big Impressionist, Modern and Contemporary Auctions, not to mention all the UK hotels I enjoyed during my staycation summer.

Where are you planning to travel next / where will you be spending Christmas this year?

Next up is Paris to catch up on all their glorious exhibitions, and then Miami at the end of the month for Art Basel, one of my favourite art fairs of the year. Unfortunately, like so many others, it was sadly cancelled in 2020. Christmas for me this year is at Heckfield Place, by far the chicest of country house hotels, mostly because of the owner’s wonderful collection of Modern British art that he has generously hung throughout every room of the house.

Final question - which is best, Christmas in New York or London?

London, hands down! New York can certainly be beautiful – I have just returned from there, where the Rockefeller Center ice skating was starting and the tree was going up, but there is something about Christmas in London that can’t be replicated. The lights, the spirit, the cosiness … as well as the Christmas pudding. Readers can find out more about Wendy and get in touch via her website: www.goldsmithartadvisory.com Photo credit Mark Newton.

Building Castles in the Sky

Madeleine Kessler’s architectural visions are destined to make our cities better to live, work and play

The arts and culture industries have, undoubtedly, endured an ‘unprecedented’ 18 months, rife with cancellations, postponements, and changes to the format. There are silver linings, however: these setbacks have accelerated innovation, digital solutions and collaboration, on both local and international levels. At just 34 years of age, Madeleine Kessler, architect and co-curator of this year’s British Pavilion at the Venice Biennale for Architecture, is a shining light in the sphere, and we were privileged to be able to chat with her about the themes of the exhibition ‘The Garden of Privatised Delights.’ We learned a lot about how much architecture and design - from pubs and parks to (ahem) public toilets - can affect our life in the city, and it was exciting to see that architecture isn’t the old boys’ club it once was. Indeed, it’s hopeful to think that we could be in good hands like these in the future… Kessler for London Mayor, did you say?

What inspired you to study architecture and structural engineering?

I have always been fascinated by people and cities, and how design changes our experience of places. My undergraduate thesis looked at the efficient use of novel materials in structure, and drew me to the work of Swiss engineers; consequently I spent two years working for HHF Architects in Basel, from whom I was seconded to work at Ai Weiwei in Beijing. Living abroad exposed me to new ways of thinking and led me to understand architecture as a conversation about the city at every scale.

What projects have you worked on in practice?

Over the past decade I have worked on projects ranging from pavilions and theatres, to infrastructure and master-planning, including the St James’s Market Pavilion (Studio Weave); the rebuilding of the fire-damaged Grade II* listed Grand Hall at Battersea Arts Centre (Haworth Tompkins); and a city-integrated campus masterplan in Adamstuen, Oslo (Haptic Architects). I enjoy testing alternative materials, like mycelium, which I recently used in Hidden Half World, an installation at the Oslo Architecture Triennale. Through my work I seek to create places that improve everyone’s quality of life; putting community, craft and placemaking at the heart of design.

I am fascinated by how every day spaces and pieces of infrastructure can work harder for us through design. On the National Infrastructure Commission’s ‘young professionals’ panel, I led research into how we can combat loneliness through infrastructure design, exploring how in Japan, for example, a water treatment plant becomes an opportunity to provide a park and play space in a dense urban environment. I also teach at the London School of Architecture and regularly run workshops across the UK for students and young people, including for the Saturday Club Trust. I am also part of the People’s Pavilion - a co-design project being organised by Beyond the Box Consultants; this invites young people from seven East London boroughs to design, build and curate a pavilion at Here East in the Queen Elizabeth Olympic Park.

How did you get involved with the Venice Biennale?

Every other year, the British Council put out an open call for the British Pavilion for the Venice Architecture Biennale, inviting teams to submit a proposal that addresses the most pressing issue in British architecture today. Having collaborated on a number of teaching projects and workshops previously, Manijeh Verghese and I worked on a submission for the competition together. Our proposal, ‘The Garden of Privatised Delights,’ developed out of a Summer School that we taught together at the Architectural Association in 2015, which explored the closure of pubs across the UK. We were shortlisted, and after a presentation and interview, selected to curate the British Pavilion at the 17th Architecture Biennale in Venice.

What was your project for this year’s Biennale?

‘The Garden of Privatised Delights’ takes inspiration from Hieronymus Bosch’s triptych ‘The Garden of Earthly Delights’. The exhibition looks at the rapid rise of privately-owned public space across the UK and proposes strategies for the public and private sectors to work together to make public space more inclusive. The British Pavilion has been transformed into a series of immersive spaces, exploring how areas such as the High Street, pub and playground are under threat from increasing privatisation. Together, with five teams of architects, designers and researchers, the exhibition proposes new ideas for ownership and greater access, as well as demonstrating the role that design and architecture can take in supporting a more inclusive future.

You can find out more on the British Council’s website, where there is also a series of films shot within privatised public spaces, delving into the topics and research we are exploring with the team.

Tell us about some of the effects of COVID?

The Biennale was scheduled for 2020 but was postponed by a year – and the global pandemic and associated lockdowns have highlighted inequalities in our cities, making the need to address issues of accessibility to our public spaces even more critical.

It has also helped us to rethink how to communicate the messaging behind the pavilion. We have recently launched an interactive 3D tour, which allows anyone in the world (with an internet connection!) to access it.

Another silver lining has been getting to know the curators of the other National Pavilions through the Curators Collective. Initiated by the Korean Pavilion, the Curators Collective has provided a unique platform for a cross-cultural dialogue around how we can contribute to the Venice Biennale as a platform for collaboration, solidarity, and accessibility. Since May 2020, the meetings have evolved into an ongoing dialogue and exploration of collaborative possibilities for the 2021 Biennale, and in August many of us met together in person for the first time for a series of ‘Middisage’ events initiated by the Austrian Pavilion.

Finally, what have you got planned next?

After a decade of working in practice, the British Pavilion has also provided a launch-pad to set up my own studio, Madeleine Kessler Architecture, exploring cultural, civic and public projects. MKA is an architecture and urban design studio which is dedicated to designing joyful, people-centred places. We have a strong social vision and commitment to high-quality design that contributes to more inclusive and sustainable urban spaces. Current projects include a public realm project in South London which will open a piece of private land to the public for the first time; the masterplan for Gingerbread City; exhibitions in London and Chicago; workspace designs across Europe for a tech start-up; and a series of co-design projects for Skyroom. I continue to balance practice with academia and research and lecture at the London School of Architecture and continue my work with the National Infrastructure Commission’s Design Group, allowing me to continue to explore the difference scales of the city and architecture in tandem.

Find out more about the British Pavilion here:

www.venicebiennale.britishcouncil.org/the-garden-of-privatised-delights-2021 And if you couldn’t make it to Venice this year, you can still view the tour here: www.venicebiennale.britishcouncil.org/the-garden-of-privatised-delights/virtual-tour You can find out more about Madeleine and her practice here: www.madeleinekessler.com

London Art Fair announces exhibitors and curated sections for its 34th edition 19-23 January 2022

London Art Fair will return to London for its 34th edition in 2022, recognised as a platform for connecting the best galleries from around the world with both seasoned and aspiring collectors, providing a unique opportunity to discover and champion outstanding modern and contemporary art. The Fair seeks to nurture collecting at all levels whilst providing expert insight into the changing international market. Sitting alongside the main Fair, curated sections Art Projects and Photo50 feature the next generation of artists, collectives and gallerists; showcasing increasingly innovative and interactive ways to engage with art. The Fair’s strong gallery line up is also complemented by an extensive programme of engaging talks, panel discussions, interactive performance art, and onsite activations from the Fair’s partners. Taking place from 19 - 23 January 2022 (Preview 18th January), London Art Fair will be a key and unmissable opening to the international art calendar.

This year will see the participation of over 100 galleries from around the world, including Austria, America, Portugal, Sweden, and Australia, with new exhibitors Gillian Jason Gallery, Mothflower and David Kovats; alongside returning names such as Richard Green, James Hyman and Purdy Hicks. The Fair will also feature work by some of the world’s most renowned artists working across a variety of media, including Henry Moore, David Hockney, Bridget Riley and Paula Rego. The event’s specialism in Modern art continues to be strongly represented through the participation of some of the UK’s leading galleries in the field including Thomas Spencer Fine Art, Gilden’s Fine Art and Gerber Fine Art.. For those interested in textiles and sculpture Thompson’s Gallery will present new and unseen works specifically created for the Fair, including work by Athena Anastasiou who uses bright acrylic wool to extend her painted image from the boundaries of the canvas.

Established in 2005 to support emerging galleries, Art Projects will return to showcase the freshest contemporary art from across the globe. Amongst the diversity of the selected work for 2022 there is a sense of wishing to relook towards the future. Many of the featured artists look inwards at their own emotions, beliefs and mythologies, but with a keen eye on what these subjects mean for the wider world. Photo50 is the Fair’s critical forum for examining distinctive elements of current photographic practice. For 2022, Photo50 will be curated by Rodrigo Orrantia presenting works by British and UK-based artists responding to the idea of an island, looking at practices expanding the possibilities of photography. No Place is An Island will feature the work of fourteen artists, some of which will show brand new works created especially for Photo50. www.londonartfair.co.uk

Gilden’s Art Gallery Pablo Picasso, Modern Style Bust, 1948, Original Hand Signed and Numbered Lithograph on Arches Wove Paper, 65.5 x 50cm Kunst ab Hinterhof Jari Genser, STRAFE XIII, 2020, Oil on paper, on canvas, 200x200cm, Copyright Jari Genser. Courtesy of Kunst ab Hinterhof

Jealous Gallery Chris Levine, Stillness Is A Portal To The Divine, 2021, Archival Inkjet, image of Kate Moss with Screen printed Counterpart Poem.Presented in a Custom Made Perspex Box, 45x 59.4cm. Courtesy of Jealous Gallery.

Journeys : The Healing Arts

Saatchi Gallery and CW+, the charity of Chelsea and Westminster Hospital NHS Foundation Trust, have partnered to present a first-of-its-kind ‘Arts in Health’ exhibition at the gallery. Journeys: The Healing Arts, is a selection of bespoke artworks from the CW+ art collection, commissioned to enhance the environment and improve patient outcomes at Chelsea and Westminster Hospital. This is the first time CW+ has exhibited artworks from its collection on this scale to a wider public within a gallery setting.

CW+’s award-winning ‘Arts in Health’ programme was established when Chelsea and Westminster Hospital was actually built in 1993, located just one mile from Saatchi Gallery. Art was integral to the design and bespoke artworks built into the hospital’s foundations. Since then, CW+’s pioneering ‘Arts in Health’ programme has evolved to combine visual and performing arts with live music and dance; participatory music, art and craft workshops; film screenings; innovative design and green spaces; as well as a collection of over 2,000 works of art and digital installations to transform and improve the hospital environment for patients, families, volunteers and staff.

Saatchi Gallery first partnered with CW+ in September 2021 when the gallery shared virtual access to the renowned exhibition ‘JR: Chronicles’. The hospital community could virtually visit the exhibition online and via patient bed-side screens as part of CW+’s online ‘Arts in Health’ programme, which was created in 2020 in response to the pandemic when the charity’s in-person participatory activities had to stop. Journeys: The Healing Arts exhibits over 20 artists and explores the different communities and stories that make up Chelsea and Westminster Hospital. This unique exhibition explores the journey from traditional drawn artworks through to innovative digital and screen-based artworks, including a new commission created by musician and artist Brian Eno. Many of the drawn artworks capture life in the hospital during the pandemic and are a visual representation of the way the hospital and its communities changed so dramatically. The exhibition also explores the place that both these mediums have within the hospital community and displays art that reflects care, support and recovery. Brian Eno, British musician and featured artist, says: “To be part of the CW+ exhibition at Saatchi Gallery is a great honour. For a number of years, I’ve worked with the CW+ team in creating works that provide a positive and calming environment, something that seems vital in a patient’s experience and recovery. My latest work, Midlands, aims to take patients on both a physical and emotional journey, to hopefully relieve some of the anxiety or pain they might be experiencing. It is fantastic to be exhibited in such a splendid gallery alongside so many other wonderful artworks all with a mutual aim of expediting healing through art.” Laura Uccello, Director of Partnerships at Saatchi Gallery, says: “Working closely with CW+ has allowed Saatchi Gallery to share free access to contemporary art to their wide hospital community. We are delighted to be exhibiting ‘Journeys’ and sharing with our visitors the meaningful impact that the visual arts have on Chelsea and Westminster Hospital’s commissioned artists, patients, volunteers and staff members.” Trystan Hawkins, Arts Director at CW+, says: “We are thrilled to be partnering with Saatchi Gallery to present this unique exhibition. Thanks to our generous supporters, we’re able to work with these incredible artists to transform the hospital experience and environment for our patients, their families and our hardworking staff. I am delighted that for the first time the wider community can now also enjoy these artworks and learn more about our innovative programme of work.”

FEATURED ARTISTS

Anouk Mercier – 50 Nurses. Created in parallel with the CW+ heritage project celebrating the 300th anniversary of the original Westminster Hospital, 50 Nurses displays 50 portraits of nurses and addressed the significant lack of female

representation throughout both the hospital archives and the charity’s historic art collection. It specifically responded to the discovery of a 1919 photograph of Westminster nurses, which omitted to record any of the photographed women’s names. University of West England: Gary Embury, Lucy Ward and Anouk Mercier – Drawn ll. The CW+ Drawn in Residence II project charts, records, and describes the impact of COVID-19 on our hospital communities, in partnership with the Tavolozza Foundation. The Drawn in Residence Series ll programme and portfolio of work aims to document, explore, and capture the changing roles of staff during the pandemic, our new hospital environments, the role of arts – particularly drawing – in healthcare settings, and how the pandemic has shaped this. Emily Thomas – That’s what we’re here for. During her residency, Emily shadowed the volunteers team; engaging with their daily activities and having valuable conversations. Drawing on location allowed her to be fully engaged with the subject matter she portrayed and include quotes from conversations that add different angles and perspectives to her work.

Olivier Krugler and Tim King – Reportage. The CW+ Reportage project records the daily life within the hospital, as well as the impact of COVID-19 on our Trust. This on-going residency chronicles the stories of our patients and staff, particularly capturing the unseen workers in the hospital. The artists have spent time in the hospital, on the wards, in theatres, attending clinics, shadowing catering and cleaning teams, and generally gaining insight and understanding of our hospital community. This project is a collaboration between artists, healthcare professionals, and all the staff who are key to keeping our hospital running.

Carlos Penalver – Best For You (Live Drawing). Carlos produced this work for the CW+ Best For You programme following an interview with a young user of the Child and Adolescent Mental Health Services. The interview shared the patient’s past and current experiences of Mental Health services, and the creative outcome of work is a series of images representing stages of these experiences, like a timeline. Brian Eno – Midlands. As part of our RELAX Digital programme, we commissioned Brian Eno to create new digital artwork. It will be installed in the waiting area of the Fracture Clinic, Chelsea and Westminster Hospital. [more info coming soon]

Accademia – The Digital Zoo. Research has shown that exposure to images of nature reduces anxiety and improves patient outcomes. The Digital Zoo is designed to distract, engage and calm children whilst they wait and receive care in the paediatric waiting and treatment rooms at Chelsea and Westminster Hospital’s emergency department. Paola Estrella – Synchronicity. Synchronicity explores the entanglement between performance, meditation, and film. Through a process in which the artist connects with the beauty that can be found in the process of transformation, she practiced a series of movements across natural landscapes in the South of England. By observing the relationship between the body of the performer and elements such as plants, flowers, and water, this work aims to open a space to unwind. Min Young Kim – Companion. Companion is a real-time and sensor-based simulation plant, originally designed to be installed within hospital wards. The inspiration came from the large-scale greenhouse-like constructions of the Chelsea and Westminster Hospital, the team generated virtual plant avatars that are designed to be hypersensitive to uncontrollable natural James Hope Faulkner – Project Willow. James’ peaceful journeys are recorded from the first-person perspective and displayed to individual or groups of patients throughout their treatment. Viewers are drawn into the immersive effect of the first-person forward movement, as if they themselves were on the journey. The nature of this content will not only mitigate feelings of boredom and anxiety in patients but also physical symptoms such as nausea, vomiting, fatigue and pain. Owen Diplock – Sunrises. A series of elegantly captured films of the Spring sunrise unfolding in real time. Shot at various pastoral locations across Hertfordshire, these meditative and visually arresting films were as calming and restorative to create as they are to watch. Take a moment out of your day to observe this remarkable everyday occurrence in maximum detail and without interruption.

Morgan Beringer – Seasonal. Seasonal is an hour-long ambient video work that gradually cycles through landscapes and textures representing each of the four seasons, becoming something of an abstract clock. It is intended to invite reflection upon how we perceive and delineate the passage of time, and the way we define or symbolically represent the seasons. Kit Mead – Liquid Crystal. The digital screen is made up of pixels; slippery things that morph and change continuously into new and different forms. Liquid Crystal uses the mutability of the digital screen to generate an animation of metamorphoses where objects and forms continually change with the intention of creating a situation where the viewer can be swept away in the malleable sea of the pixel. Eda Sarman – Favourite Colour. Favourite Colour was created by patients for patients. Eda worked with long-term patients and held marbling workshops at Chelsea and Westminster Hospital. Sarman gave space for the Stroke and Paediatric patients to explore the question “What is your favourite colour?”. The resulting film is a composition of the patient group exploring their favourite colours and creating everchanging patterns.

Sara Choudhrey – Cascade. Cascade is a vector animation, presenting a geometric composition reminiscent of Islamic visual arts, with floral motifs and line-work based on an isometric grid. The composition is displayed in alternating, undulating form, at sparing moments almost static, indicating the unity of the polygonal structure and the subdivided shapes. The shapes fit together in mathematical harmony and are dispersed with soft petals, referencing a contrasting organic matter.

Stateless Studios – Circadian Cycles. Through careful consultation with CW+ and David Erskine staff, circadian rhythms and calming imagery of nature inform this 12-hour cyclical content. By working with a combination of photography and animation, warm and relaxing films of sky, with subtle changes and movement, create a window into the outside world. As a respiratory unit, David Erskine ward is often a place of high stress for both staff, patients and visitors. By providing a presence of nature and time, this artwork aims to create a sense of calm.

Genesis Arts – Immersive Healing Arts System. An innovative, interactive digital art installation at Chelsea and Westminster Hospital, for patients and staff to experience interactive audio-visual art that induces positive moods and emotions.

Journeys : The Healing Arts Saatchi Gallery

Space: Gallery 3, Ground Floor Dates and Opening Hours Open to the public: 24 November 2021 – 13 January 2022 Closed Christmas Day & Boxing Day Admission: Free Entry. Pre-booking not required. https://www.saatchigallery.com/exhibition/journeys

At Kensington & Chelsea’s Newest Gallery “Studio West”

Already an illustrious member of London’s Arts’ Scene, art historian Caroline Boseley sits on the Advisory Board of Kensington + Chelsea Art Week as Curator of Special Projects, which brings contemporary art to shop windows on the Kings Road. Knowing a thing or two about emerging artists, she retrained to become a Gallerist, and November saw the opening of Studio West, her first gallery in the capital. Promising to be more than another gallery in Notting Hill, Studio West will have a revolving roster of artists and shows, focussing on up and coming artists that celebrate the cultural heritage and vibrant arts ecology of the local community. Rather than a stuffy space, Caroline wants Studio West to appeal, not only to collectors and art enthusiasts, but also passers-by whose interest is piqued enough to come in. “I want my space to be welcoming and accessible, and not in the slightest bit snooty,” says Boseley. “I’d like people to come into the gallery and see a friendly face; someone who can answer their questions, whether or not they are looking to buy or just browsing.” The first joint show, consisting of works by Victoria Cantons and Xu Yang, is entitled “Tomorrow Will Be the Most Beautiful Day of Your Life” and is a unique insight into the shared intimacy in which this female couple exists. The artworks are both cohesive and playful, as these artists work so closely together. “Victoria is a transgender female artist; she very much works with identity of the female gaze, and how life interacts with who you are,” explains Boseley. “Although she is transgender, and although this is a fact that makes up her identity, it is not the sole focus of her work – rather, it informs it.” As such, each piece provides a personal context of her character which is both truthful and honest.

Victoria’s text-based pieces are complemented by Xu’s work, which is much more performance led, focussing on themes of baroque, performance, identity, and what lies behind the facade. Brought up as an only child in conservative China, where she was not allowed to wear colours, her bright, flamboyant, artpersona demonstrates the person she has actually always wanted to be, and she will be in the gallery at times, drifting around so people can engage with her - as is part of her practice. With the community being very much a focus for Caroline, the gallery is going to offer seating, Saturday cakes and a social space, complemented by playlists composed by her DJ daughter. Caroline’s enthusiasm is contagious: she is a big believer in the importance of following your dream, and passionate about how contemporary art and sculpture can engage and benefit a wider community without soullessly investing or profiting. “I’ve never believed you should buy an artwork speculatively, or as an investment,” she says. “I think you should buy it because you love it and it speaks to you. You’re actually supporting an artist - and when a client buys an artist’s work, and I would love them to meet the artist they are buying that artwork from.” someone’s progress in real life. “I sit for hours researching on Instagram,” admits Boseley. “I check out young artists and find out who they follow and who their friends are: it is inspiring and keeps me relevant. For me, the artist the priority: I want to know them as individuals as well as talented artists.” She believes that formulised investing and owning a bit of code stored on a server without knowing the artist takes the soul out of art. “Art should be accessible to all,” she says. “If a painting is too expensive, we’re going to try and offer prints or smaller works so it’s available to everyone.” Determined only to showcase the work of artists that she enjoys personally, Caroline is proud of her ethics and is confident her programme will show talented artists who create quality work. “I’ve got to be true to myself- I don’t want the gallery to be all about profit, so not everyone is going to like it,” she says. It is a brave move - but the main goal is to engage with the community as well as art collectors. “Art reviews are just personal taste and at every show, artists are putting themselves out there to be judged,” she says. “I always try to be constructive. But honestly - you can’t love the work of every artist on show in a gallery.” With a jam-packed calendar already in place for the coming twelve months, a group show is scheduled for January, followed by a solo female abstract painter who has never sculpted before. There’s also talk of creating a space to celebrate Carnival in August.

“I have this crazy idea of working with four artists and muralling the inside of the gallery, with visitors able to add to it,” she says. “There’s something alluring and mischievous about drawing in a space you’re not really meant to.”

STUDIO WEST

216 Kensington Park Rd, London W11 1NR Phone: 020 7229 6394 https://studiowest.art/ By Sara Darling

We also talked about BitCoin, digital art and NFTs which, as older art-appreciators, seems rather alien to both of us, especially in the age of Instagram, where you can easily follow