The Museletter - Spring 2020

Edition IV April/May 2020 Editors Damian Rayne Gosia Malawska

INDEX Cover: Samantha Y. Huang .............................................1 Featured Artist:.....Shoko Taruma....................................3 Comic.............................................................................4 IMA Studio......................................................................5 At the Muse in 2020...................................................6-11 Map ........................................................................12-13 At the Muse in 2021................................................14-15 Factor-m.......................................................................16 PIERS, what’s on your mind?.........................................17 Vivian...........................................................................18 The Galleries Association..........................................19-21 We support...................................................................22 Portobello Film Festival.................................................23 Local Legend: Jonathan Barnett.....................................24

The Museletter is a bi-monthly tabloid, curated by The Muse Gallery.

The objectives of the periodical are to spotlight life, arts and the counter-culture of West London; alongside limited edition hard copy artworks, interviews, articles, and community insights.

The MUSE Gallery (UK Charity for the arts No.1162300) 269, Portobello Rd. London W11 1LR Thursday-Sunday 12-6.00pm www.themuseat269.com info@themuseat269.com Twitter: Muse_Gallery Instagram: Muse_at_269

About the Muse....

The Muse was established in 2003 as an artist-led organisation, supporting both gallery and studio elements. Our gallery is situated in the heart of North Kensington, amongst the Georgian houses of Portobello Market. We host an annual residency programme with subsidised studio space and further show opportunities for recent graduates. Throughout the year we open our doors to artists, curating the space to present a balance of emerging and established professionals.

In 2020 we are proud to support three new residents and a diverse list of national and international artists. We hope you enjoy a collection of work in this periodical; hopefully collectable images, whether online or printed — accessible art for our readership. www.themuseat269.com

FEATURED ARTISTS Claudia Boese Deetzschk Hanna ten Doornkaat Jane Frederick Samantha Y. Huang Marina Junqueira Yuichiro Kikuma Hugo Lami

cover: Samantha Y. Huang

Gosia Lapsa-Malawska Cecilia di Paola Symrath Patti Mary Romer Alla Samarina Paul Smith Shoko Taruma Rory Watson

SHOKO Taruma

FEATURED ARTIST

Torsion, Urushi (Japaneselacquer), 3,24×25×113cm, linen, silver leaf, dry lacquer technique

At The Muse Gallery...

Alla Samarina - Elements of Life 1-14 June

Alla Samarina grew up in Saint Petersburg (Russia). She was involved in the underground art scene of the late 1980’s that inspired the New Academy Art Movement, the Soviet rock band Kino, Pop Mechanika and the group Kolibri (Alla was a member from 1988-90) She left Russia in 1991 with the fall of the Soviet Union and came to London. During the 1990’s, working as a fashion model and muse to the worldrenowned milliner Philip Treacy. Alla also worked with the stylist Isabella Blow for Vogue and other publications.

Always an Artist, but a latecomer to painting and drawing, for the past few years she’s been studying at Heatherley’s School of Fine Art in Chelsea.

Her work is mainly figurative with live portraiture; she also experiments with different media and varying degrees of abstraction.

Elements of Life I am a figurative artist and I was always fascinated by the “art of seeing”, as our vision is more than what meets the eye. In my work I try to interpret the essence of the subject in front of me rather than just representing a complete form. I particularly like to work from life, where I translate the reality constructing the image by limiting the overwhelming amount of visual information, sometimes to just a few elements, marks or colours, from which the brain’s visual system is free to spontaneously complete the full image, filling the blind spots and automatically correcting distorted information into emotive narrative.

I think art that relies on these elements of visual processing can lead to a more emotionally compelling cognitive visual experience.

Adam Zoltowski COVID-19 Islands dates TBC 18th June -5th July This exhibition is a self-portrait – by definition, a work in progress. The work represents a moment of studio practice, reproduction and replication.

The portrait includes not just ideas but the tools and materials of their realisation; the reproduction of objects and what exists within the sphere of their manifestation. In turn those peripheral objects continue to affect the immediate and so on…

‘Each of the works here is an island in a sea of relationships, nothing stands alone, entire of itself’.

The components of the work are divided into three. The first, figurative elements. These are carved from polystyrene with a thin skin of fibreglass, just like a surfboard.

‘I like to think about the way a surfboard is a floatation device, and a vehicle for riding a wave. I also like it that it is not a traditionally precious material commonly associated with art, it is light in weight and also in historicity.’

The second are the supports such as bases, plinths, blocks, trestles, palettes. Traditionally invisible in art – you’re not supposed to ‘see’ them. Either in the gallery or in the workshop they are subordinate to the art object albeit a supporting role. In these works the relationship between art, object and support is made visible, if not necessarily entirely equal. They may be made as laboriously as the object they support, be made of the same material, or be the focus of the entire work.

‘Lastly come the waste papers, here painstakingly reproduced in aluminium. These are the receipts, lists, scribbled notes and diagrams, templates and floor coverings that we accumulate in the day to day of a studio practice. This material constitutes a tide of documentary history that flows around the art object and anchors it within the silt of the mundane, the everyday. I am particularly attracted to the things that are immediately familiar, such as the back of a list written in ink where the ink has bled through, leaving it visible but unreadable, or the smallprint and safety data sheets that arrive with a delivery of chemicals to the studio, so technical and dry to read that it is rendered abstract. Like parts of the body these are so universally familiar that some kind of transformation in scale, material or context is needed to make them materialise before our eyes in all their glorious strangeness.’

COVID-19 dates TBC

Yuichiro Kikuma

9th-26th July |Artist in Residence 2019|

Over the past four years Kikuma has been experimenting with common household devices and tools instead of paint brushes to create images that are unexpected but somewhat familiar and intriguing. His focus is more on capturing accidental marks and effects that often happen in the process of making something else. In other words, errors that inevitably occur within the system of making something have become the source of his inspiration.

So far twelve series of Variations have been produced in the last 4 years. Each series has been made by following specific methods.

For example the first series started when he found a parabola-like mark appear on an ink soaked canvas when it was being dried on a radiator. In the following series other tools were used outside of their intended use which include reclaimed laser-cut off cuts, hair dryers, atomisers and gardening sprayers. Over the years he has become increasingly interested in how things around him, which he thinks he knows so well, can bring suprises by manifesting themselves in the least expected ways. His current interest is ultimately to create an envi-ronment for these ‘happy accidents’ to happen and somehow capture them.

Yuichiro Kikuma

HANNA TEN DOORNKAAT Essentially Grey 17th September - 4th October

COVID-19 dates TBC

The exhibition explores how our understanding of colour - or in this case the absence of colour - abstracts an idea. Colours change according to light, but what the retina sees is not necessarily what the brain translates into our knowledge of colour.

Hanna ten Doornkaat’s medium is the graphite pencil. Colour, if used at all, is reduced to monochromes such as grey, black, ghostly white, or the occasional pastel pink, blue, orange or red. The use of non-colours that kindle neither emotions nor desires allows us to focus on the work without distracting from the lines, grids and marks obsessively drawn on board. The intention here is to focus on the line in an attempt to blur the boundaries between drawing, sculpture and installation.

When colour is used, it is a deliberate choice to tease the viewer’s emotional response. The drawing of tightly packed, layered lines with a graphite pencil is central to the artist’s interest in both the process and the metaphysical expression of an idea. She often explores the interrelationship between movement and mark and its expansion into spatial formations.

RESIDENCY PROGRAM AT THE MUSE 2020

CECILIA DI PAOLO

HUGO LAMI

RORY WATSON

COVID-19 dates TBC

Residency Final Show 8th - 25th October Hugo Lami Cecilia Di Paolo Rory Watson

MARINA JUNQUEIRA 29th October - 8th November COVID-19 dates TBC

COVID-19 dates TBC

PORTOBELLO FILM FESTIVAL 1st-13th September 2020

COVID-19 dates TBC

RESIDENCY 2021 COMPETITION 12th - 22nd November

COVID-19 dates TBC

SYMRATH PATTI

26th November - 13th December

JANE FREDERICK

MARY ROMER

CLAUDIA BOESE JANE FREDERICK GOSIA LAPSA-MALAWSKA MARY ROMER 14th - 31st January 2021

CLAUDIA BOESE

GOSIA LAPSA-MALAWSKA

COVID-19 dates TBC

PAUL SMITH 4th February - 21st February

COVID-19 dates TBC

PAUL SMITH, Dolfriog, 24x18cm, Oil on Linen, 2019

factor - m Him: musing opening convo …

Him: Why did you just take a photo of that painting? Is it your favourite?

Her: I’m still making up my mind …

Him: Once you have made up your mind, what will you do with the photo?

Her: I’ll use it for my Instagram.

Him: Why would you post it on Instagram. Do you think it is good art?

Her: I will add it to my story, just playing the game …

Him: So you think it is all a game, do you?

Her: Isn’t this what people do, hide behind their mobile phones when they find themselves alone in a place?

Him: You came by yourself?!

Her: I was actually drawn to that painting over there with the cigarettes … fags used to be the prop of choice when you were waiting … I never smoked, making up for lost time with my phone now!

Him: Have you seen any good art recently.

Her: Went to Bruce Davidson at Huxley Parlour before I came here.

Him: So, you do have taste! Will you be posting that on Instagram too?

Her: Yes, I’ve chosen the one of the girl with the kitten …

Him: Not very imaginative, it’s his most famous and the gallery used it as the cover. I would click right past you on Soulmates, too many cat women.

Her: People like kittens …

Her: So what bring you here, as it’s obviously not the art on the walls?

Him: The free drinks! I’m about to use my second token …

Her: I’ll be holding on to mine as a keepsake. Really love the idea!

Him: I’m sure U has a higher value in Scrabble …

Her: But it’s worth one unit, I think it’s very clever. Actually, I like the branding of this place, very consistent.

Him: I hate galleries that use a VIP cordon to show off how important they are … very pretentious.

Her: But it works! You know what and whom to expect. Very consistent brand proposition. I like the concept.

Him: Let me give you my card, I am an artist, you may like my work.

Her: OK, take one of mine …

Him: You have a card? You must think you are very important to carry business cards with you.

Meike Brunkhorst www.factor-m.co.uk (Teiji Hayama, Goldie, 2019) Unit cataalogue cover and drink token

(Bruce Davidson, Girl with Kitten, London, 1960)

PIERS,

EXTINCTION REBELLION

what’s on

your mind?

WHAT IS EXTINCTION REBELLION? Extinction Rebellion is an international movement that uses nonviolent civil disobedience in an attempt to force institutions to act on the climate emergency, and minimise the risk of social collapse.

What’s on my mind, well… art is on my mind at the moment. Uhmm…

Obviously, we do our show at The Muse gallery, so we’re surrounded by art and we had loads of lovely artists in today. Not only the lady Uhmm… Shoko, who’s show…the black lacquer show on at the moment, but the guys who are coming in next which is Brian and Aleksandra coming in as part of the Westway Trust engineered…

The POP, isn’t it called POP? It’s called POP Portobello Open Process, uhmm... You’ve got art on in here, they’ve also got dance, spoken word and I think it’s quite an interesting development on the part of the Westway Trust. We’ve also just seen the end of a show called Collecting Ends which was a collaboration between Fer Arts and Curating London, part of The museum of London.

So that…not only is it a great show, but it is fantastic that you’ve got people like The Museum of London coming down here and picking up our young artists.

WHY DO WE NEED TO REBEL? We will not be led quietly to extinction by the elites and politicians. Conventional campaigning has failed.

Carbon emissions have increased by 60% since 1990.

We will work together with love, compassion, honour, resilience, and peace, using nonviolent civil disobedience in the spirit of all those who fought for our freedoms before us.

We call on every one of you, regardless of your political beliefs, to join us in fighting for the survival of life on earth.

portobelloradio.com

Absolutely, fnnnhh… and didn’t you have some performers on the show today talking about The Playground Theatre?

We had people from The Playground. The Playground seems to be really buzzy at the moment, they’ve got a Brian Cox directed play on at the moment. They have got a Hugh Hudson, the commercials directed, his… he’s doing a play there, in about a month or two. They’ve got a fantastic show by our great friend Julliet Karen called ‘Mum’… and before ‘Mum’ on one of the days, I think on the 28th of March, they have…we have Zakia and Amie a mother and daughter who have written a play about their relationship, mental health issues and also how mental health issues are exacerbated by coming from a tradition where your ancestors were enslaved.

Diasporas Yep. Uhmm, so that was all very interesting.

And what are you doing this weekend?

This weekend we’re doing al… we’re d…we’ve got a lot of ladies, women should I say, playing on Portobello Radio Uh, seven… eight hours of purely female Dj’s so we’re quite pleased with ourselves for that. Otherwise I’m probably going to sleep.

Sounds good. Thank you very much.

PIERS & GREG

ZARVIS - EP 203 …back to wellbeing, back to Madam Zarvis We started with Nettle in Mars…

We’re in Mars, hot, hot ,hot I keep hearing in my head, those herbal babies out there listening to us. You know, my granny used to give it to me, my Mum used to shove it down my throat. I’m thinking there’s no respect in that. Those women knew plant association, plant to medicine and they fed their children that when there were no doctors. You’re lucky to be here to say that, so we need to hear respect for those women that protected their families. With herbal poltices, plants in their homes, in their gardens and they knew how to use it.

So, what are we going to use today.

Today I have a big surprise for you, because I know you love nettle. Making tea…I kept hearing tea this and tea that. So, we’re going to give you a recipe for nettle beer.

Oooooooh.

We want all you beer makers out there, to get a pen and paper, because I’ve got a really good recipe for you.

Are you listen out there in Hackney, with your beard and your fixie bikes.

So now, hang on a second, I’m going to just put my glasses on. I’m going to start with nettle beer. This is the best recipe I’ve found. I have made Elderberry wine which is soporific, it’s like port, and its delicious. I’ll explain how to make Elderberry wine, next week.

Yes, next week.

You need one gallon of nettles, nettle leaf. You strip it from the stem, either fresh…

How do you get a gallon of nettles?

No, you use yellow marigold gloves, you got out and you pick nettles and strip for the stem. A gallon is like an A4 box filled with leaf. But you can use dried leaf.

Packed tightly?

Kind of tightly, it doesn’t have to be so tight because they’re going to be boiled. One gallon of nettles, one and a half pounds of malt, one pound of sugar.

Where do you get malt from?

From the beer making… and you can get it from Tesco from world foods.

Interesting Two ounces of Sarsaparilla, which clears the blood as well. So, you’re making a mineral beer with something that clears the blood. Sarsaparilla is what root beer originally came from.

To detox as you’re drinking?

I need my herbal babies out there to not just to make teas, but drink wines and beers made from plants.

I’m loving the juxtaposition, I really am. What are you doing with all this stuff?

So… one ounce of hops, there are lots of different hops. I would go for the bitter ones. There are sweet hops and bitter hops, I would go for the bitter ones.

In fact, if anyone is making this beer and wants some hops, we have some beautiful hops growing in our garden.

Good for you. You should be growing nettles and hops in the gardens. I also have half a kilo of nettles for sale if you’re looking for stock.

At Portobello Green. So that would be a pound of nettles, your jumping between your metrics and imperials.

Because dried, you won’t need as many as wet, new fresh. You know because they don’t have the water. But when you boil it slowly it absorbs the water. Madame you need to speak into the mic because we’re transcribing this for the book, DVD Netflix series.

Thank you, thank you and one gallon of water. So, you have all the ingredients here and I’m going to tell you what to do. Yeast can be fresh or dried. I always like fresh yeast for wine making you can spread it on toast. But you might be able to use good dried yeast.

Which you can get from Tescos.

Yeah you can get bread making yeast. You can go to a brewer’s shop, Google it and go to your local brewers shop and just buy yeast, and Malt. He’ll have malt for you.

Do we just chuck it into a thing… boil it up?

No, I’m going to read it. Boil the nettles, just simmer them. Don’t hard boil them.

In that water Nettles and malt and you’re going to use bottled water you can’t use tap water, if you want a nice long lasting beer. Keep them simmering for about thirty minutes, strain. Add the sugar, the hops and the sarsaparilla and let the liquid stand, until its cool enough to add the yeast. So, when you add the yeast you want to see it fluff up.

What in the water, in the liquid, the potion.

You don’t spread it on toast like you do in wine… and it floats on the top of your mash and then…that’s it.

And then what, leave for how long, do you cover it?

No, you don’t cover it. YOU know the thing is there are two things I didn’t say, you have to sterilise your equipment in hot water and soap is enough.

But if you really want to get something clean then you can use those Milton baby tablets in cold water over night but don’t rinse it just pull them out and just let them dry off. Leave the liquid for a while and it should become active in about two or three days.

Where do you leave it, like an airing cupboard, cold dry place?

I used to leave the wine in a dry cold dark cupboard. You can cover it with a cloth. It doesn’t have to be warm, it will go anyway.

When do we start drinking this beer.

No, you have to bottle it.

Ok, so two or three days then it’s starting to ferment. Do you bottle it then?

When it’s cool, you add the yeast, you allow it then to ferment. You will see it bubbling up. They suggest you bottle it while it’s active and loosely cork it. The corks will pop and the good ones will stay. Like the wine one bit of bacteria will spoil one bottle, so you need your gloves on and don’t put your fingers in it and there you go…Nettle beer.

Amazing. Seems like an awful lot of hard work.

It doesn’t give the age. But they’ll pop if they’re too strong, so if it pops you need to drink it.

Can you briefly remind us why we’re imbibing Nettles?

Oh, it’s a mineral. Nettles carry so many minerals in clarifying for the kidneys and Hops are also a very good diuretic. And so with the sarsaparilla, which is an alternative to the blood, so it clarifies the blood, it makes it a really good drink. You can’t find dandelion and burdock in the shop, but there’s always flavouring it. I worked in the flavouring industries and you know it’s not the real thing, so you really want to make the real thing. We’ll go back over dandelion and burdock…

The week after Elderberry.

We love Elderberry. Elderberry surpasses that, that and Damson wine is sublime.

Portobello Craft Beer, what’s not to like. Raise a glass to your grannies and your mums.

www.thegalleriesassociation.co.uk

West London

extraordinary Galleries Tour

June 30th1-3pm live broadcasting from www.portobello radio.com or follow the bus on twitter

@ONTHEBUS69

12 shows to choose from on the day.

HOP ON or HOP OFF AT 6 locations and it’ll be back to get you every 35 mins

WEST LONDON GALLERIES BUS TOUR

next 25.07.2020

THE GALLERIES ASSOCIATION

After Nyne Gallery 10 Portland Road Holland Park London W11 4LA afternynegallery.com

www.thegalleriesassociation.co.uk

Daniel Benjamin Gallery 120 Kensington Park Road London W11 2PW db-gallery.com David Hill Gallery 345 Ladbroke Grove, London W10 6HA davidhillgallery.net Design Museum 224-238 Kensington High St London W8 6AG designmuseum.org Elephant West 62 Wood Lane London W12 7RH elephant.art/west Frestonian Gallery 2 Olaf Street W11 4BE London frestoniangallery.com Graffik Gallery 284 Portobello Road W10 5TE London graffikgallery.co.uk 50 Golborne Road London W10 5PR 50golborne-artdesign.com Japan House 101-111 Kensington High St London W8 5SA japanhouselondon.uk The Muse Gallery 269 Portobello Road W11 1LR London themuseat269.com

MAKE YOUR MARK

Serena Morton Gallery 343 Ladbroke Grove London W10 6HA serenamorton.com Unit One Gallery|Workshop 1 Bard Rd, London W10 6TP unit1gallery-workshop.com Westbank Arts 3-5 Thorpe Close London, W10 5Xl londonwestbank.com Whitewall Galleries Central 100 Westbourne Grove London W2 5RU whitewallgalleries.com

Connect the dots or just use the space creatively and send us a photo of your work.

If it’s good, we will publish it in the next edition. Send us a name and photographed images to info@themuseat269.com

Portobello Wholefoods Ltd 266 Portobello Rd, Notting Hill London W10 5TY

PORTOBELLO DANCE Tabernacle, Powis Square W11 2AY www.portobellodance.org.uk info@portobellodance.org.uk Artistic Director: Mark Elie

NO SELL OUT Jonathan Barnett

Director Portobello Film Festival 1996 – 2020 I’m not sure it is so important these days in this post-capitalist world where making money is the universal goal and idealism seems to have gone by the wayside, but for a long time “selling out” was the worst move an artist could make.

It was to do with honesty and credibility. If you sold out your art was hopelessly compromised, your message made meaningless, especially if it claimed to come from a dissenter’s point of view. For a lot of punks the movement ended the day The Clash signed with CBS and the Sex Pistols signed with Virgin. What price revolution when the first cheque from the establishment was eagerly gobbled up?

Of course it could get silly, as Bob Dylan was booed for selling out when he went electric, and in the end much of his best work was to follow.

The smartest artists from Rembrandt to Picasso, from Caravaggio to Francis Bacon were able to plough their own paths while taking pots of cash from the establishment. The last laugh however would always be on them, for no matter how offensive and critical of the conventional their work was, in the end the paintings would be worth so much money their rich patrons would be handsomely rewarded.

Well…the Portobello Film Festival has never sold out. Over 25 years we have delivered an 18 day FREE FESTIVAL every year in the heart of Portobello Road and North Kensington, with no admission fee, no charge for brochures, badges, or posters, at all the best venues in town. We have presented the likes of John Malkovich, Franc Roddam, Andrew Logan, Hanif Kureshi, Julien Temple, Rob Newman, Ken Campbell, Tony Allen, Bella Freud, Ken Russell family, The Boyle Family, Duggie Fields, Blek Le Rat, Inkie, and Joe Rush for films, Q&As, introductions, exhibitions, talks, seminars, and PAs for free and open to all. The buzzwords these days are Inclusion and Engagement… well you can’t get much more inclusive and engaging than free entry. It is a model adopted by all the main museums in UK and many publications now like Time Out and Evening Standard.

Citizens should not have to pay for art. It should be public and open to all, and certainly not restricted by a bank balance.

There is also the argument that not “selling out” produces better art. If the shining spark of inspiration is pure and unsullied by commercial or political requirements, then the art itself is more powerful, for the subliminal traces of the sell out are usually visible to even the untrained eye.

It was a shame when street art became fashionable and the market was flooded with dreary pictures of Kate Moss, pin ups, and unfunny Banksy rip offs.

So for 25 years the Portobello Film & Arts Festival has been free. We’ve heard it all – “more people will come and take you seriously if you charge money” (usually from people who have never put on an arts festival in their life), “sponsors won’t support a free festival – it goes against the very principles of capitalism”, “it’s not sustainable”. Well it is sustainable.

How many paying arts festivals have been running for 25 years?

How have we done it? There is a hardcore of volunteers who believe in the mission of the Portobello Film Festival.

Raymond Myndiuk has been programmer and projectionist since 1999 (when he spotted an early film by Sarah Gavron when she was at the National Film And Television School as a student and shortlisted it for a prize). On the few occasions we have been lucky enough to go to Cannes, Ray watches films non stop from dawn to closing time. He loves the medium and our policy of trying to show as many films submitted as possible (at no entry charge of course).

Co-ordinator Leona Flude and her partner Greg Edwards normally work as prop and location stylists for magazines and films. Leona has been with us since the Festival was started by cult filmmaker Barney Platts Mills (Bronco Bullfrog, Paul Weller’s favourite film, and Private Road with Bruce Robinson, the template for Withnail) in 1996. Thanks to her energy, inspiration and commitment events run smoothly and the Festival gets some much needed glamour. As locals, like everybody concerned with delivery of the Festival, they are intimately involved in this area and understand its crazy personality.

Other volunteers that help us every year include Press Officer Ken Macdonald, Thomas Szabo and Katrin from Leipzig University who do our website and insist on only being paid in English crumpets, Dave Pitt- who was landlord at the Inn On The Green – who helps us out with everything from running the bar at the Pop Up to supplying and operating sound systems, graphic designer Phil Underwood, Hugh Gulland and Patrizia Taglietti (front of house), Matthew Buxton (photography), Damian Rayne and Gosia Malawska at The Muse who have been hosting us for movies and art expos for 15 years, author Courttia Newland, actress Jenny Runacre, and Dave Barnard from Dalai Lama’s Meridian Trust on IT and technical support.

Plus every year we give local unemployed people Work Experience in Event Management based in delivery of the event. There are always volunteers here whose help is invaluable. We encourage initiative and many of them contribute wonderful things we would never have thought of ourselves.

So it’s a good team. The work is fun. And we all share this common vision of putting on a free Festival with as many indie films as possible and street art, which in it’s purest free public art form is coming from the same source as the Portobello Film Festival.

We must thanks the filmmakers and artists who contribute, again in empathy with the Festival’s free principles. North Kensington/Portobello used to be UK’s free capital, with free concerts, free schools, free adventure playgrounds, free infrastructures, and Portobello Film Festival continues with that tradition. Glastonbury started from Revelation Enterprises on Portobello Road, and it was a free festival then. Indeed for many year Michael Eavis used to let people get in for free from the Peace Convoy to unpatrolled holes under the walls.

We must also thank the sponsors and the supporters, none of whom have ever dictated how we run the Festival. They have been happy to keep us going as a local and international resource and in the words of Robert Elms, an institution. After Carnival and the Market we hope we have kept the goose that laid the golden countercultural egg of Portobello Road flying for the past 25 years.

So hats off to Royal Borough of Kensington & Chelsea Arts, Westway Development Trust, Dr Martens, London Development Agency, JVC, Agnes B, Time Out, London Live, Arts Council UK, Film London, Westbourne Studios, Maxilla Social Club, Westbank, Paddington Development Agency, and all our other supporters over the years.

NO SELL OUT. A FREE FILM AND ART FESTIVAL FOR 25 YEARS.

Jonathan Barnett, 29 February 2020 www.portobellofilmfestival.com Facebook: Portobello Film Festival

LOCAL LEGEND JONATHAN BARNETT