Exploring the intimate relationship between underwear and fashion and its role in moulding the body to a fashionable ideal, with cut, fit, fabric and decoration revealing issues of gender, sex and morality.
Discover the evolution of underwear design from the 18th-century to the present day. Featuring over 200 examples of underwear for men and women, highlighting the enduring themes of innovation and luxury.
From the custom-made, such as a rare example of home-made ‘stays’ worn by a working woman in England in the 18th-century, to pieces by current designers including Stella McCartney, Rigby & Peller and Paul Smith.
From the dawn of mechanised human forms to cutting-edge technology fresh from the lab, Robots reveals the astonishing 500-year quest to make machines human.
Focusing on why they exist rather than on how they work, our blockbuster exhibition explores the ways robots mirror humanity and the insights they offer into our ambitions, desires and position in a rapidly changing world.
Robots takes you on an incredible journey spanning five centuries, illustrated with robotic artefacts from around the globe from a 16th century mechanised monk to some of film’s most iconic robotic creations and the very latest humanoids.
A special Valentine’s screening of Funny Face, starring Audrey Hepburn and Fred Astaire. Taking place at Grade-II listed Stanley Halls in South Norwood.
Continuing on from the success of last year’s Valentine’s s creening of Cinema Paradiso, the organisers are paying homage to the 1957 musical by transforming the venue into fashionable 1950s Paris, including chic cafes, bohemian bars and dancing!
Delicious sweet and savoury crêpes will be available from Brixton-based L’Amuse Bouche and independent coffee shop Coffee Craft will be open selling hot drinks and desserts. The film will be followed by live music from the Tootsie Rollers, a retro band with a unique sound that fuses old-school classics with contemporary hits!
Designed as a global incentive to enact positive change, POWER OF FILM AND MOVING IMAGE will be an annual cultural happening and digital platform to see, expose and explore the ever-growing power and influence of film and moving image to define the modern world and the way we think.
Through a series of thought provoking discussions the project will identify and examine historical and current moments captured on all forms of film and moving image – from 8mm cinema and broadcast television to digital, online and social media – and its significant cultural, social and political impact.
Hosted by Mariella Frostrup, with an afternoon opening address by Melvyn Bragg, speakers include Germaine Greer on Fellini, Will Self on art films in the internet age, Fatima Bhutto on moving image and propaganda, Michael Gunton on the power of nature films to raise awareness on climate change, John Simpson on moving image and conflict, Elif Shafak on democracy and dissent, Beeban Kidron on the impact of digital on today’s youth, Stephen Bayley on the culture of cars in films, Christiane Amanpour on the media’s role in the US election. Award winning British director Gurinder Chadha will give her speech in the opening morning session focussing on race and religion in film.
The project is launching as a day-long event on Thursday 9th February 2017 at The Royal Institution, London, bringing together leaders in the fields of politics, media, technology, journalism, film, television, art, social media and advertising.
Although the aim of the Winter Happiness Festival is to encourage fun and play, there’s a bigger issue at its heart. While a new year brings hope, it can also bring anxiety, one of the biggest causes of mental distress and depression. Festival highlights include:
– A Giant Adult Ball Pool taking over half of the Museum of Happiness in Shoreditch, London. Probably one of the deepest ball pools in the UK!
– Gratitude tree, Letting Go bin, Mindful colouring in other activities that can boost your happiness skills (yes, happiness is actually a skill).
– A program of talks and workshops on Saturday afternoons in the basement of the Canvas Cafe – the home of the Museum of Happiness.
Do Ho Suh meticulously constructs proportionally exact replicas of dwelling places, architectural features, or household appliances from stitched planes of translucent, coloured polyester fabric.
In exquisitely made works, Do Ho Suh explores contemporary arrangements of space and the unstable boundaries of its categorisation along lines of individuality and collectivity, physicality and immateriality, mobility and fixity. Influenced by his peripatetic existence – leaving his native South Korea to study and live in the United States, he has more recently moved between New York, Seoul and London – an enduring theme of the artist’s practice is the connection between the individual and the group across global cultures. The multiplicity of individuality is tested through meditative processes of repetition: whether interlinked along a lattice of fishing nets, amassed into monumental tornado-like forms, absent from ranks of empty uniforms, or present in every yearbook photo taken at the artist’s high school over 60 years, the artist uses the reproduced human figure to explore sensitively, and with spectacular formal effect, the ways in which personal space inherently extends into the collective sphere.
Exhibition involving the exploratory vocal and movement performances of Elaine Mitchener, Barbara Gamper and her dancers Eve Stainton, Ria Uttridge and Be van Vark, with an invited audience. A multi-media installation has been generated from the documentation of their open-ended live performance. The title of the work suggests two possible readings: that ‘she’ dictates our movements; or that we obstruct ‘hers’, with both interpretations suggesting power is at play.
Boyce has a participatory art practice where she invites others to engage performatively with improvisation. In this process, she encourages contributors to exercise their own responses to the situations she enables, where she steps back from any directorial position to observe the activities and dynamics of exchange as they unfold. Once the performance is played out and documented, Boyce reshapes the material generated, in what she calls “recouping the remains”, to create the artwork as a multi-media installation.
We move in her way was created in this way as a performative laboratory, in which the audience and performers negotiated the ICA Theatre space around sculptural objects and their own bodies. Play and playfulness unfolded during the open-ended live performance, sparking a breakdown of assumed order between performers and audience. The dynamics of power-play shifted between the masked audience, the performers and the sculptural objects created as a means to facilitate touch and being together, whilst remaining distinct.
Notions of difference and relatedness make reference to the enduring influence of Dada within We move in her. Processes of collaborative improvisation are exemplified in the piece, referencing the Brazilian artist Lygia Clark in the late 1960s and 70s. Some of the masks worn by the audience are a re-working of Sophie Tauber’s Dada Head (1920) – itself an appropriation of Oceanic sculpture. The final artwork takes another playful turn to create a multi-layered and multi-media installation.
Crazy golf fans ‘Share The Love’ at a Valentine’s Day celebration raising money for Love Specs, aka Love Support Unite, a charity sustainably supporting communities in Malawi. All ticket revenue taken at Junkyard’s Brick Lane, London venue will be donated to the charity.
In 2016 Junkyard Golf Club raised £13,000 for their partner charity, Love Support Unite, and in 2017 Junkyard is aiming even higher. The first of these feel-good fundraisers arrives in the form of ‘Share The Love’, a Valentine’s Day celebration open to all, couples, singles, friends and more. As per usual lip-smacking cocktails, danceable tunes and of course a whole host of crazy golf courses to master will be on offer – alongside the chance to make a huge difference to communities in Malawi. On a day stereotypically associated with chocolates, fancy restaurants, diamonds and more material spending, ‘Share The Love’ is a chance to do something different.
This is a true story. Events are told exactly as they happened, apart from the ones that are completely made up.
It’s 1943. Rosa Rauchbach and Horace Greasley are creating a little slice of history, and stealing a lot of chickens along the way.
The Rauchbach Greasley Association Society Club (RGASC, for short) will tell you all about it. They have a shared obsession with their two national heroes, a fierce pride in their country and only 5 members. Not that that’s going to stop them.
Multi award-winning Lost Watch present Flew the Coop, inspired by the true story of Silesian translator Rosa Rauchbach and Horace Greasley, the British prisoner of war who escaped over 200 times to see her.
January 20th 2017 is the day that President-elect Trump takes office. Unbeknownst to many, January 20th also happens to be the day Ice Cube rapped about in his seminal song It Was A Good Day.
A group of artists are celebrating Ice Cube and his positive song with an exhibition dedicated to It Was A Good Day.
It Was A Good Day by Ice Cube was released in 1992, and using the song’s lyrics and historic events—like the debut date of Yo! MTV Raps and results of games between the Lakers and Sonics—Donovan Strain from Murk Avenue concluded that Ice Cube’s “good day” was Jan. 20, 1992.