VAULT Festival returns at its original home beneath Waterloo Station and, for the first time, at satellite venues Network Theatre and Morley College.
Boldly diverse, the programme features a myriad of shows exploring many themes via many more mediums. New bars and a fresh food offering, plus a dazzling array of late night parties!
For all six weeks award-winning company The Flanagan Collective will immerse audiences in decadence and excess at The Great Gatsby, performed across multiple spaces, ensuring every audience a unique experience, and rewarding those who dive deepest into Jay Gatsby’s world. Following on from Jurassic Park, their hit 2016 comedy, Superbolt Theatre return to VAULT with Mars Actually, which features in Proxima V, a new pulse of Space and Sci-Fi-themed events.
Every week there will be premiers for exciting shorts and features, including are dark_net staring Johnny Vegas and Love Comes Later, a London premiere staring Sarita Choudhury (Homeland). Laughs-a-plenty are in store in Adele Is Younger Than Us, giving voice to a generation of frustrated ‘not-quite-Adeles’. Meanwhile the VAULT Comedy Festival also promises a fresh line-up stepping up to the mic.
Food will be provided by Balkano, a kitchen inspired by chef Martin H Shaw’s exploration of Eastern Europe. Shaw has worked for the Conran Group, alongside Tom Aiken and at the award-winning Cake Shop Bakery, Woodbridge. At Balkano he offers up heart-warming dishes including Hungary Hot Potato and Smoky Serb Salsa, plus larger plates such as Chicken or Courgette Souvlaki with Labneh.
Marvel at a dramatic live contemporary circus performance from NoFit State. An immersive promenade show directed by Firenza Guidi, it takes place above, behind and all around a standing audience, with a constantly evolving narrative set to a pounding soundtrack performed by a live band.
‘Soundscapes’ has commissioned musicians and sound artists to select a painting from the collection and compose a new piece of music or sound art in response. Immersive and site-specific, the experience encourages visitors to ‘hear’ the paintings and ‘see’ the sound.
Jamie xx, DJ, music producer, and member of Mercury Prize-winning band, The xx. His producer credits include collaborations with Drake, Rihanna, and Alicia Keys as well as ‘We’re New Here’, his reworking of Gil Scott-Heron’s last studio album. Jamie’s debut solo album ‘In Colour’ was released in June. Jamie’s chosen painting is Van Rysselberghe’s Coastal Scene (about 1892).
Nico Muhly is a composer of chamber, orchestral, and sacred music, as well as opera and ballet. His work includes commissions from the Metropolitan Opera, English National Opera, New York City Ballet, St John’s College, Cambridge, and Wigmore Hall. Muhly’s chosen painting is The Wilton Diptych (about 1395–9).
Susan Philipsz OBE is a Turner Prize-winning sound artist. Known for her installations that explore the relationship between sound and architecture, she has been presented at institutions across the world from MoMA to the Sydney Biennale. Philipsz’s chosen painting is Holbein’s Ambassadors (1533).
Gabriel Yared is an Oscar-winning film composer, whose work includes the scores for ‘Betty Blue’ (1986), ‘The English Patient’ (1996), ‘The Talented Mr Ripley’ (1999), and ‘Cold Mountain’ (2003). Yared’s chosen painting is Cézanne’s Bathers (about 1894–1905).
Chris Watson is one of the world’s leading recorders of wildlife and natural phenomena. He won BAFTA Awards for David Attenborough’s ‘Life’ and ‘Frozen Planet’ BBC series, and has worked on other major film, radio, and TV projects. Watson’s chosen painting is Gallen-Kallela’s Lake Keitele (1905).
Janet Cardiff and George Bures Miller are internationally renowned installation and sound artists. Based in Grindrod, Canada, the duo incorporates audio tracks with installations to create three-dimensional spaces with sound. Cardiff and Miller’s chosen painting is Antonello da Messina’s Saint Jerome in his Study (about 1475).
The Syngenta Photography Award is a celebration of artistic skill and outstanding photography which aims to draw attention to, and stimulate dialogue around, key global challenges. This year’s award invited professional and amateur photographers from all over the world to submit applications responding to the theme of ‘Scarcity-Waste’.
In the past 50 years, our demands on the natural world have doubled. Many of us are barely aware of the fragility of the resources we depend upon for our survival. While resource scarcity is evident everywhere, it sits alongside enormous waste. As nearly one billion people go to bed hungry worldwide, others are wasting over half of the food they buy. The award called for photographs that tell stories about scarcity and waste and the tensions and relationships between them. Photographers, whatever their approach, were invited to interpret this theme to spark dialogue about our changing planet.
Alfie Brown’s fourth hour long show is another screaming, pretentious, crusading monstrosity. It’s all about divorce (his), Bipolar disorder (his) and reality (?)
What is right? What is real? Morals are taught, accepted and then regurgitated. It seems bizarre that we don’t ask questions, it seems weird that when we do, people tell us we’re mad. I’m not mad, you’re not mad, society has Munchausen’s syndrome by proxy. Another 55 mins of bombastic diatribe (see?) from Alfie (him).
London is one of the world’s centres for contemporary art. MIRRORCITY shows recent work and new commissions by key emerging and established artists working in the capital today, who seek to address the challenges, conditions and consequences of living in a digital age.
JG Ballard believed that reality had already exceeded the visions conjured by science fiction by the end of the 20th century. Drawing on the digital era we now live in, the artists in MIRRORCITY respond to and address this new perception of the world.
Artists have always created alternative realities but recently they have been exploring where the digital and the physical space crossover and fold into each other.
The exhibition considers questions specific to our time such as: ‘How can we navigate the space between the digital and the physical?’ and ‘What is the effect of advanced technologies on our lives?’
The engagement, innovation and complexity of the works selected for MIRRORCITY also directly or indirectly reflect the multi-faceted character of London itself.