A Fleur de Peau

by Cheryl Teh 

Edgy, intimate and real – these are but some words that one might use to describe CMCI student and curator Louis Denizet’s debut show A Fleur de Peau. 

A Fleur de Peau (Photo by Cheryl Teh)

Its location – hosted in The Retro Gallery, a chic location in the heart of West End – sets the stage for a wonderful evening of art and good conversation. Tucked away in the second floor above the Retro Bar, the gallery provides a space to celebrate diversity; welcoming artists of all backgrounds to stage their work.

The private viewing itself involved an eye-opening insight into the work of five contemporary artists in London. Denizet’s overall vision for the exhibition and the effort and sophistication behind each display was reflected in every detail; showcasing a carefully measured sensibility and an astute awareness of the theme and its implications.

The exhibition’s title, “A Fleur De Peau”, directly translates from French to “blooming at the surface of the skin”. It is a term used often to describe a person of delicate nature; used to denominate sensibility, and the manifestation of emotion. It is fitting, then, that an exhibition with such a title would centre on the body, physicality and its expressive potential.

“While identity is frequently communicated through fashion, this exhibition proposes to look beneath the surface of clothes and to rediscover how corporeality is intrinsically imbued with meaning,” Denizet said.

“In other words, this exhibition asks visitors to observe dismembered pieces of the body and to reflect on their individual personalities and expressive characteristics.”

Anne Millot’s noses (Photo by Cheryl Teh)

And observe we did – from Anne Millot’s noses, Kat Hudson’s lips, Katy Briggs’s pin-ups, to Hello the Mushroom’s skeletal figures,

“My Awake painting and Fat Lip sketches follow on from my series of paintings that has developed over the past couple of years. Starting with my Living Dead show this trope of the third eye signifying looking deeper into the issues of our world has become a staple in my paintings,” artist Kat Hudson said.

Awake, by Kat Hudson (Photo by Cheryl Teh)

“As the series has developed the eye has gone from being sewn shut to brutally and painfully ripped open. The lips also emerged as the anger and vocal nature of the feelings of my friends and I intensified. Awake is an image of a sort of breaking point that a lot of us are reaching in this current political climate.” 

“My Babes on Rothkos collage series is a lot more tongue and cheek and I’ve been finding it really refreshing to work on,” she added.

Babes on Rothkos, by Kat Hudson (Photo by Cheryl Teh)

“Pasting images from old erotic magazines onto famous highbrow paintings is a social commentary for me on the class divide in our society and how we contextualise art. The series elevates the status of the porn images whilst diluting the abstract and therefore widely palatable nature of the original paintings.” 

“Nothing makes me happier than finding pieces that just click together like a puzzle that was always meant to be but whose image hasn’t been previously dictated by somebody else.”

A young curator on the rise! (Photo by LYK Production & Photography)

The bodies described by the five featured artists took on new life – expressing meaning beneath and beyond the flesh. The exhibition brought us on a journey through the kaleidoscopic world constructed by Denizet’s curatorial vision. If this is a sign of things to come – we will observe the development of this young curator’s career with much anticipation!

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Founded with a vision to create a free-to-hire gallery space in central London open to artists of all backgrounds, The Retro Gallery (theretrogallerylondon.co.uk) now runs a different show every few months and has played host to a wide variety of artists from all over the world. Artist Kat Hudson (kathudson.co.uk) is but one of the many talented individuals whose work they have featured. Check them out!

America Dreaming – Beauty, Conflict and Surface in American Pop Art

by Cheryl Teh

The first thing that catches my eye upon stepping into the Sainsbury Exhibitions Gallery at the British Museum is the brilliance of a neon light installation of the Stars and Stripes.

“You can’t take photos in there – but you can take a selfie with the flag” a gallery attendant informs me kindly, glancing at the camera case slung on my shoulder. I’m a little gutted – I am, after all, going to view pieces from some of my all-time favourite artists; but I decide to be less of a fangirl, and appreciate the art for what it is. Before entering the space, I take another glance at the obnoxiously glaring (but, nonetheless pretty) display. This is so American, I muse – bold, with flashes of colour, simply demanding your attention, right here and now.

I had high hopes for this exhibition, and was not let down. From the get-go, I am greeted by Warhol’s Marilyn (1967) and her doomed smile – and, ironically, on the facing wall, the gruesome prominence of Warhol’s Electric Chair (1964).

Warhol’s Marilyn (1967) at the British Museum. Lauren Hurley/PA Wire.

I stand in the gallery, gazing at Marilyn’s mask and her empty, laughing eyes. Be alone with us in the emptiness, she seems to say. In a world where everything means nothing, and nothing means everything.

I move on to my personal favourite – Roy Lichtenstein; with his intense comic-book style pops of colour. I have had the privilege of viewing several Lichtenstein pieces, most recently, Girl in Bath (1963), at the Museo Thyssen-Bornemisza in Madrid. But nothing draws me in more than Lichtenstein’s The Melody Haunts My Reverie (1965).

The Melody Haunts My Reverie, Roy Lichtenstein. Scalarchives.com

The strains of a familiar tune play in the corner of my mind: “The melody haunts my reverie/ And I am once again with you.” With the simplicity of his signature Ben-Day Dots, coupled with bold, primary colours and daring brushstrokes, Lichtenstein captures the essence of a shared experience – of dancing, jazz and decadence in prewar 1930s America. It is captivating, and I am not disappointed.

The exhibition continues with printmaking heavyweights like Robert Rauschenberg and Jasper Johns, before moving on to Ruscha’s work in the 1960s. Ooo (1969) fascinates me, in all its wet, monochromatic glory, while Made in California (1971) intrigues and invokes recollections of the warm California sunshine, and the sweet tartness of oranges melting on the tongue.

Made in California (1971), Ed Ruscha. The British Museum.

My attention is soon diverted, however, to the iconic Standard Station (1996). As I observe the sharp lines, I am reminded of how the ordinariness of Ruscha’s everyday subjects allows his work to possess a depth beyond surface, superficiality and artifice.

Standard Station (1996), Ed Ruscha. The British Museum.

The exhibition extends beyond the 60s, to Nauman’s ironic Malice (1980), a red-and-green neon display – which seems somewhat out-of-place (but, at the same time, strangely, at home) within this collection. I wander through the space – admiring several choice glimpses of minimalism and conceptualism from the 70s, and, surprisingly, photography, too – from Close, to Katz.

Malice (1980). Bruce Nauman/Artists Rights Society.

What is striking, and commendable, is the sobering note on which the exhibition ends. In the section Politics and Dissent, one is granted the privilege of viewing several pieces from the Guerrilla Girls – including the tongue-in-cheek The Advantages of Being a Woman Artist (1988), and Keith Haring’s take on ignorance and fear in the context of the AIDS crisis. Race and identity are also brought to the fore by Ligon’s Warm Broad Glow (2005) – a noteworthy piece, that provides a vital, thought provoking commentary on race and identity.

Warm Broad Glow (2005), Glen Ligon. El-quilombo-negativo.

Interestingly, the exhibition ends with Bochner’s (2012) work, Going Out of Business. Kitschy and stunning, Bochner cleverly employs the symbolism and immense power of language to address what many may feel, now more than ever, is the ‘sign of the times’.

Going Out Of Business, Mel Bochner. Paddle8.

As I leave, I can’t help but think: even if America goes out of business, at least it still has amazing art.

The British Museum will host The American Dream: Pop to then Present until 18 June 2017.

Kings College Chorus Annual Spring Concert

by Ying Kuen Tonmy Lam

The Kings College Chorus will be holding it’s annual Spring Concert on 22^nd March, 2017 (Wed) in King’s College London Chapel (Strand Campus) at 7:30pm. In this concert, the choir will be performing Czech composer-  Antonín Dvorák’s Stabat Mater. This semester, the choir is conducted by a music student Kate Bingham and featuring four soloists: Eleanor Strutt, Eva Reggiani, William Branston and Michael Coffel. 

Dvorák completed Stabat Mater after the deaths of his three children (Josefa, Ruzena and Otaker). This choral piece can be seen as a work of healing and mourning of his children’s death. The text of this choral masterpiece is based on a 13^th Century Franciscan composition– Stabat  Mater written by Jacopone da Todi.  The text portrays the Virgin Mary’s grief during the crucifixion of Jesus under his cross.

Interestingly, Kings College Chorus has performed Stabat Mater in 2012, accompanied by an orchestra. This year, it will be accompanied by the piano. It will be fresh and unique experience compare to the orchestral version. 

If you are interested to enjoy this spiritual and beautiful music in the atmospheric chapel, tickets are available on:

https://www.kclsu.org/ents/event/4287/

You can find further details in the following link:
https://www.facebook.com/events/1236962669691906/

We’re Getting Cultured!

London from the Thames, Cheryl T

Culture Collective is composed of a dedicated team of writers, focused on the latest developments in London’s art and culture scene. We are currently based in London, but have writers hailing from all over the world, who carry with them a wealth of knowledge and experience.

As writers, we will work toward representing our diverse backgrounds and interests, whilst making a positive contribution to the cultural and media industries. From ‘high culture’ to street art, and exhibitions big and small, we hope to provide our readers with a comprehensive look at the kaleidoscopic world of culture – a field of work for which we possess much passion.

Some things to look out for are:

• Our coverage of cultural events and exhibitions in London;
• Our articles, covering KCL students’ very own projects; and
• the editor’s monthly column!

The editorial board is composed of postgraduate students from King’s College London’s  Culture, Media and Creative Industries (CMCI department). However, we do welcome contributions and tip-offs from our readers.

If you would like to contribute a story, feel free to drop the editorial team an email at culturecollective@kcl.ac.uk.