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Review Antony Gormley Drawings at the British Museum

Review Antony Gormley Drawings at the British Museum

 

This review of Antony Gormley‘s Drawings at the British Museum was first published here: www.freewebs.com/creativecommunicationswrithings/Writhings/AntonyGormley.htm

 

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Review of lecture 'Hong Kong cinema: Crisis and Recovery' by Tony Rayns at the ICA

Review of lecture ‘Hong Kong cinema: Crisis and Recovery’ by Tony Rayns at the ICA

 

This article was originally written in July 2002 for Creative Week.

 

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Review of Movie Night "FrameBarFrame" by Paul Hoson at the Vibe Bar

Review of Movie Night “FrameBarFrame” by Paul Hoson at the Vibe Bar

 

The original article can be found here:  http://www.freewebs.com/creativecommunicationswrithings/Writhings/MoviePaul.htm

 

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Review of Movie Night "Arts Lab" by Jonathan Sedassy at the Rhythm Factory

Review of Movie Night “Arts Lab” by Jonathan Sedassy at the Rhythm Factory

 

You can see the original article here:
http://www.freewebs.com/creativecommunicationswrithings/Writhings/MovieJonny.htm

 

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Review of Movie Night by Susanne Dietz at the Shunt’s railway arch

 

You can see the original article here: http://creativecommunicationswrithings.webs.com/Writhings/MovieSusanne.htm

 

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What a beautiful day it was. When there’s sun in London, there’s fun and everybody gets along.

After a very relaxed and easy afternoon with a bottle of rosé on ice to share in the park we headed to the opening of Tim Flach’s exhibition ‘Equus’. We arrived late and had missed him – pity, I’d loved a signed copy of his book, even though it’s – and surely worth every penny – 30 quid.

The photographs exhibited were not many but worth the large print – what kind of high resolution camera must he have used to get those extraordinary results on print, every single hair stood out like a beam, massive in its contrast to the background.

Tim Flach clearly likes the female form, as all the pictures he’d taken of horses portray that lovely round shape, making it almost sexy to look at. But it is the angle he chose that accentuates the holistic form of a horse. Those perfect curves and lines, the softness about horses.

The compositions are extraordinary, the section bringing parts of the horses closer to us we’d never really looked at before. Not in that way anyway. Tim Flach moves away from the standard portrait or side full body photography and presents us with excerpts. Like focusing only on the most brilliant parts of a masterpiece, just that in this case it’s about one of the most perfectly shaped animals in the world.

“From ass to zebra, it’s all horse”, he takes us through a journey of horsemanship with his book ‘Equus’. We were privileged enough to leaf through about half of it, until the gallery guard of ‘Osborne Samuel’ successfully put us off, by persistently telling us the book was worth £7,500 and we must treat it with care. It’s not that it costs 7,500 that makes it precious it’s the work that went in it. From Scandinavian horses to Mustangs, from donkeys to zebras encountering gnus, this is worth a lifetime of dedication.

Each shot perfect and yet, slightly different from what you’d have expected. Slightly off-key to create that effect of astonishment. Here a love for animals meets the expertise in handling the technical side of photography and lightning that explodes in art pieces that you can marvel at for hours or simply put up in your living room and enjoy the sight of a well-balanced addition to your interior design according to feng shui.

Even after the abrupt interruption of indulging in Tim Flach’s work I took his product with me and the journey back home seemed like a series of pictures I mentally took in my mind when passing by incredible architecture, immense history, intense culture or infamous London citizens on my way home. Every glance I took up from concentrating on the roads seemed to entail an arrangement worth taking a picture of.

If it was pompous buildings, strange viewpoints, fantastic contrasts or chav-looking school girls, it all had something to it that made me feel like it’s worth keeping my eyes open and really see what’s out there. Until a fire engine past by and cruelly snapped me out of my dreamy outlook on the world. Although, those blue flashy lights reflected in the glass building near by, breaking them like a prism, were quite mesmerising… 

Thank you Tim for giving us perspective!

The Birmingham Royal Ballet’s ‘Sylvia’ at the London Coliseum

Even the pricey attractions in London, where – unless you pull proper blagging techniques, such as you’re press or you’re planning to organise a corporate event and therefore need to check out that venue / menu / facilities / amenities / amusement / entertainment / location / reputation – you’d have to fork out quite a fortune, can be free: Simply try your luck and enter competitions.

This might sound too much like a game of luck, but if you know the right channels, you’re in for a good chance to get your free tickets to a fantastic London show:

Visit London (http://www.visitlondon.com) always runs great competitions. If you’re organised enough to enter them on a regular basis, you’ll end up a winner eventually.

Evening Standard (https://www.eroscard.co.uk) often has free tickets up for grabs. Make sure you enter your details early and you might end up very busy with all those free shows to attend to.

I snatched up a pair of tickets for ‘Sylvia’ a ballet show by the Birmingham Royal Ballet at the London Coliseum. The tickets were in the dress circle with a very good view of the stage.

What I love about ballet is how feelings and motivations are conveyed through dance. No words, no song, no other means of communication but the movement of the body.

This ballet performance certainly did the trick as I soon found myself moving along the dance sensations in my seat. I hope my neighbours didn’t mind.

There was a continuous build up over the three acts, which kept everybody glued to their chair, captured by the tension of the incredible choreography.

Luckily it was broken up by the hilarious act of two funny characters, who took on the part to bring some satire into the play.

The storyline gets across effortlessly, so that all that is left to do is to enjoy the dance.

Eros, who puts the Countess and her unfaithful husband together with two of their servants through a spin of reality by teaching them a metaphoric lesson about love, takes up the role of narrator and director of events. He is aware of the audience and communications directly with them through gestures.

The Countess, when finding her husband making advances to their Governess, turns into huntress Diana, who takes out her rage on her Governess’ lover by blinding him.

The Count’s pursuit of the Governess turns him into a barbaric and wild Orion, who kidnaps his object of desire and forces himself onto her.

The Governess stays in her subordinate class by becoming a follower to Diana. Only in the fantasy world does she realise her love for the Count’s valet.

The Count’s Valet is blinded and thus literally unaware and helpless about his loved one having to fend off a womaniser.

Where the first act shows the beauty of the nymphs in a chaste and delicate dance, the second act is dominated by the raw and vigorous duet of Orion and Sylvia, a power struggle which she eventually wins through cleverness.

The third act combines it all with the tenderness of blossoming love between Sylvia and Amynta and the jubilant exultance of them giving in to their love. Jumps and spins and lifts that leave you breathless. Floating movements that seem to defy gravity.
But also the funny elements of this ballet don’t fail to impress. During the wine making scene in Orion’s cave, the creativity of the choreographer becomes apparent. The pirate scene stands out as Eros is finally getting his chance to impress by dance – on only one leg. His costume is astonishing, as he is walking on a wooden stump. While you’re still wondering where his leg disappeared to, he already blows your mind with spins, whirling across the stage.

Not to forget is the lighting factor in this show: The dark glossy floor brings a gloomy outlook onto the dancers with only faint illumination highlighting their performance. A waterfall seems to be flowing, the sea seems to be glistening, water is spraying, mist is creeping in.

To round this up, the costumes reflect the characters in figure hugging ways that accentuate the strength and leanness of the dancer’s bodies.

The finale came in form of a horse statue onto the stage: Diana, outraged and furious, set out with her entourage to kill Amynta. Shields are gleaming, lances are wielded.

Out of nowhere appeared Eros leaning against the horse to make things right again. Diana wakes up from her rage, Orion becomes humble and apologises to his wife, the Governess can openly state her love for the Count’s Valet.

An appropriate happy ending that resulted in resounding applause, appreciative bravos and cheers and encouraging whistles.

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