Each summer, The Edmond J. Safra Fountain Court hosts London’s most beautiful open-air cinema; Film4 Summer Screen. A highlight of the city’s summer calendar.
A prestigious programme of classic and contemporary films will be presented in the spectacular surroundings of Somerset House.
The line-up includes a 20th anniversary screening of Trainspotting and a total of three UK premieres, including Things to Come starring Isabelle Huppert. They will feature on London’s largest outdoor screen, projected digitally and on 35mm film in full surround sound.
Also there will be special on-stage introductions from the stars at selected screenings and sundown DJ sets before the films begin.
Multi-decade exploration of the relationship between Modernism and its manifestations in the contemporary. In the exhibition—comprised of two new bodies of work and a monumental bronze—Coventry disabuses Modernism of its utopian promise, locating its residue in the debris of the social landscape.
Keith Coventry (b. 1958, Burnley, United Kingdom) was born in Burnley in 1958 and lives and works in London. He attended Brighton Polytechnic 1978– 81 and Chelsea School of Art London 1981– 82. He was featured in the seminal exhibition Sensation at the Royal Academy of Arts, London, in 1997 and in 2006, he received a mid-career retrospective at Glasgow’s Tramway (Art Centre). He was also a co-founder and curator of City Racing, an influential not-for-profit gallery in Kennington, South London from 1988-98.
His work has been exhibited widely in the UK and Europe and is included in collections worldwide, including the British Council; Tate Modern; Arts Council of England; Walker Art Center, Minneapolis;, and The Museum of Modern Art, New York. In 2010 Coventry was awarded the John Moores Painting Prize.His work will be included in Double Act: Art and Comedy, an exhibition presented at The MAC Belfast in May 2016.
Covent Garden is encouraging its visitors to enjoy a moment of reflection with a mesmerising new installation which wraps 32,000 square feet of mirrors around the eastern façade of the world-renowned Market Building.
‘Reflect London’ has been created to offer striking new perspectives of the historic site while concealing essential building works as the Grade II* listed landmark undergoes its latest transformation.
The striking renovation will house an iconic new restaurant from SUSHISAMBA which is the 100th brand to join the Covent Garden estate.
Visitors gazing into the mirrored surface will be able to take a moment of reflection, as nineteenth century classical architecture and modern minimalism collide with the sky in a dazzling spectacle of reflected light.
In total, 67 mirrors are setup around the Piazza, the angles will be adjusted as time passes to create an ever-changing surface reflecting countless viewpoints and endless perspectives of Covent Garden through the seasons.
Vault Festival is returning for six weeks of events, drinks, shows and gigs underground! This year there are three bars and the Suffolk Punch, a brand new restaurant, open to the public.
Trgyve Wakenshaw, The Misfit Analysis and Clout Theatre are amongst the many performers, eight unbelievable spaces within one venue, three stylish bars and an amazing pop-up restaurant will fill the labyrinthine vaults beneath Waterloo Station.
Tickets for theatre performances, comedy, club nights, workshops, family entertainment and events from £5!
It’s a year since the magical light impresario and neon artist Chris Bracey so very sadly passed away from prostate cancer. 12 months on, his presence still acutely felt at Gods Own Junkyard in Walthamstow, Bracey’s remaining family of neon makers officially showcase their own work for the very first time at Lights of Soho.
At a time when development plans outlined by Soho Estates race ahead and £10 cocktail tipples are named after famous prostitutes, Linda explains that for this show, the family has reflected on their own interpretations on the area. Each member has created work that riffs on the iconography of Soho itself as well as a trajectory of Gods Own Junkyard’s relationship with this particular stretch over the last six decades. Linda explains, “Soho was where Chris’ career started and Dick, his father worked here too. They both loved the area, my sons grew-up working here and the grandchildren have grown-up hearing edited versions of Soho.” She reminisces on the palpable frisson of energy and naughtiness missing today. The red lights, pieces of cardboard advertising ‘Models Upstairs’, or ‘Photographers Studio’, lights blazing with ‘Peep Show’, and half-naked girls peeking out of doors, most of them are restaurants and tapas bars now.
Chris Bracey inherited the family business from his father, Dick (Bracey), who he worked alongside for over three decades, evolving the Gods Own Junkyard brand and forging a dazzling career as a neon artist as well as working on iconic films such as Bladerunner and Eyes Wide Shut, a few movie classics among so many others during his 40 years in neon. Dick Bracey was a former coalminer from the Welsh valleys, who moved to London after World War Two where he found work as an electrician after learning the trade in the Royal Navy. In 1952, Dick Bracey started Electro Signs producing neon, fairground and amusement arcade signage. After many years in the family business, Chris and Linda finally realized a long held dream and started Gods Own Junkyard in 2005 and opened their studio of artworks to the public in 2009.
The Taylor Wessing Photographic Portrait Prize is the leading competition to celebrate and promote the very best in contemporary portrait photography from around the world.
The selected images, many of which will be on display for the first time, explore both traditional and contemporary approaches to the photographic portrait whilst capturing a range of characters, moods and locations. Alongside informal images of friends and family, this year’s exhibition also features revealing portraits of famous faces, including actor Benedict Cumberbatch and the President of the United States Barack Obama with First Lady Michelle Obama.
New for 2015, previously unseen prints from a recent body of work by the award-winning South African photographer Pieter Hugo will be exhibited as part of the inaugural In Focus display.
West End Film Club returns to Century for two Halloween showings of the film that made vampire flicks cool, with a special pre-screening performance by The Twins Macabre. Joel Schumacher’s The Lost Boys blends horror, humour and teenage rebelliousness in a film that oozes with style. This is an ’80s classic and the young cast pull off a spine-tingingly good performance.
The Twins Macabre comedy duo will be performing. Maurice and Ivy Macabre are 10-year-old psychic siblings who have a penchant for finger painting and murder. The pair conjure the souls of the damned through twisted sketches and original comedy songs. High-energy, fast-paced comedy intertwined with vaudevillian theatrics, ghoulish music– this comedy is not for the faint-hearted!
To get you into the halloween spirit, there’ll be blood curdling cocktails and monstrous movie munchies available, plus a spookily good rooftop halloween party after the screening. There’s two screenings to pick from, so have a look at what time suits you best.
As the witching hour approaches, ghosts and ghouls will come to life as we recreate that iconic Michael Jackson music video with a Thriller Dance Off! Go dressed in your finest spooky attire, get ready to show off your best MJ moves.
Durham’s work explores the relationship between forms and concepts. He combines words within his sculptures and drawings to conjure images and uses images to convey ideas. His sculptural constructions are often combined with disparate elements, such as written messages, photographs, words, drawings and objects. The core of Durham’s work is his ability to explore the intrinsic qualities of the materials he uses, at times fused with the agility of wordplay and, above all, irony.
In the 1950s, Durham worked extensively with wood, in the 1960s he started combining it with other materials, investigating the inherent qualities of the mediums he selected. In the 1980s, his experimentations evolved from object-based artworks to sculptural assemblages. Durham started using everyday objects including a range of materials from wood to PVC piping, metal screws and TV screens, which would become central to his practice in the following decades. Though Durham is wary of iconic representation in his work, in the late 1980s and early 1990s he began experiments on the relationship between culture and man made objects through his extensive use of installations.
At the heart of Durham’s practice is a continuous exploration and production of hybrid and seemingly fragmented installations that invite the viewer to reconstitute or reconstruct the underlying signs embedded in his works. His work addresses the political and cultural forces, e.g. the forces of colonialism that constructs our contemporary discourses and challenges our understanding of authenticity in art. Since Durham moved to Europe in the early 1990s, his works often, but not exclusively, challenge the idea of architecture, monumental works and narration of national identities by deconstructing those stereotypes and prejudices on which the Western culture is based.
Whaaam! Pop! Kapow! This is pop art, but not as you know it.
Tate Modern is ready to tell a global story of pop art, breaking new ground along the way, and revealing a different side to the artistic and cultural phenomenon.
From Latin America to Asia, and from Europe to the Middle East, this explosive exhibition connects the dots between art produced around the world during the 1960s and 1970s, showing how different cultures and countries responded to the movement.
Politics, the body, domestic revolution, consumption, public protest, and folk – all will be explored and laid bare in eye-popping Technicolor and across many media, from canvas to car bonnets and pinball machines.
The exhibition will reveal how pop was never just a celebration of western consumer culture, but was often a subversive international language of protest – a language that is more relevant today than ever.
A comprehensive exhibition of paintings and sculptures by the Cuban group of abstract painters Los Diez Pintores Concretos (Ten Concrete Painters), which was active from 1959 to 1961 at the gallery’s London location.
Concrete Cuba is the first presentation in the UK to highlight the origins of concretism in Cuba during the 1950s and will include important works by the eleven artists who were at different times associated with the group.
Pedro Álvarez, Wifredo Arcay, Mario Carreño, Salvador Corratgé, Sandú Darié, Luis Martínez Pedro, Alberto Menocal, José Mijares, Pedro de Oraá, José Ángel Rosabal, Loló Soldevilla and Rafael Soriano.