England Art And Culture

TV Well, Eve, is it? You'll have to watch the clip of Eve Myles on BBC Breakfast yourself. But it is only a minute and brilliant and completely within the tone of the series itself, in that it never did really know what it was doing. Spot the moment too when the fan lexicon intrudes into the real world, or as real as that day glow set can be and Bill Turnbull once again about ten years behind everyone else. Covertly here, too, because it feels wrong to leave this at that, on the subject of the news which is going around at the moment, you know what I'm talking about, I'm oscillating between Gwen's reaction to the plot machinations of Torchwood's Miracle Day and the Fox Mulder side of the camp, leaning more to the latter. I want to believe.

The new episode of #A.I.L - artists in laboratories, the weekly radio programme about art and science i present on ResonanceFM, is aired this Wednesday afternoon at 4pm (London time.) HeHe, Fracking Futures, 2013, Installation at FACT HeHe, Fracking Futures, 2013, Installation at FACT My guest tomorrow will be Heiko Hansen who, together with Helen Evans, forms the art & design duo Hehe. Heiko is not in the studio with us, alas! I met him last week in Liverpool where FACT (Foundation for Art and Creative Technology) was celebrating its first decade of heralding art & technology with a new exhibition called Turning FACT Inside Out. Part of the anniversary involved commissioning new works to artists such as HeHe. And HeHe took the invitation to turn FACT inside out literally. Their new piece used the exhibition space to extract gas from the ground underneath the gallery and suggest that in the future we might want to bypass big energy companies and extract our own fossil fuels ourselves in our back garden. The artists have filled the space with heavy machinery that extracts shale gas through a process called fracking. Fracking is short for 'hydraulic fracturing', a process that consists in pumping a highly pressurised mixture of water, sand and chemicals underground to extract gas. The process opens fissures in rocks, releasing the gas trapped beneath the earth's surface. The plan brought forward by the artists is to use the gas to ensure the future operation of FACT and to export the energy directly to the local community. The experimental drilling site looks like a mini inferno: it's noisy, it is filled with red lights and flames, the furniture is shaking. And there's even a filthy looking water pit. HeHe, Fracking Futures, 2013, Installation at FACT The objective of the Fracking Future installation is to highlight the relevance of the debates surrounding the fracking process, which are not only significant environmentally, but also economically. Fracking Futures is a fairly ambiguous piece. First of all, because the work does not intend to take a clear stand: it only illustrates the potential dangers of the process. At the same time, it considers the fact that fracking might offer citizens an opportunity to produce their own alternative source of energy. It is also an ambiguous project because the visitor is left to decide whether the fracking experiments at the FACT gallery is indeed genuine or whether it is merely a provocation from HeHe. HeHe, Fracking Futures, 2013, Installation at FACT HeHe, Fracking Futures, 2013, Installation at FACT HeHe, Fracking Futures, 2013, Installation at FACT HeHe, Fracking Futures, 2013, Installation at FACT The show will be aired this Wednesday 19th of June at 16:00. Early risers can catch the repeat next Tuesday at 6.30 am (I know...) If you don't live in London, you can listen to the online stream or wait till we upload the episodes on soundcloud. The amazing soundtrack & field recordings which we mention in the programme is by Dinah Bird & Jean-Philippe Renoult. Nicolas Triscott (from the Arts Catalyst which co-commissioned the installation) wrote an insightful blog post about the art work. Many stories about or mentioning HeHe's work.

Pussy Riot in prayer position. Illustration by Linus Nystrom. Don’t miss this summer’s hottest documentary films. Here’s our pick as seen at Sheffield Doc/Fest, including all the trailers. Fuck For Forest Gives direct action a whole new meaning How far would you go to save the planet? Fuck For Forest is a green non-profit which raises money online through home-made blue movies and photos. The content can only be seen by participation or donation. So far, so hippy porn site. But as you find out why the group do it, and how they’re handling the money, the film becomes eye-opening in unexpected ways. Watch to challenge your ideas of charity, pornography, the body, and how we find our place in the world. Available for download now, on DVD from 17th June The Act of Killing Movies, morals and mass murder With Werner Herzog involved, you know this film could go anywhere. Two men at the heart of one of the worst genocides of the 20th century are given the opportunity to recreate their killings on film, in the style of popular movies. Making movies about the murders means addressing their actions, and the result is an award-winning clash of fact and fiction. In UK cinemas from 28th June The Man Whose Mind Exploded The surreal world of a man without memory Salvador Dali once worked with him, but since the 1980s Drako Zarharzar’s life has taken a turn for the surreal. A string of accidents, breakdowns and comas have left his memory ‘not recording’. Film-maker Toby Amies documents Drako’s world, including the inside of the flat that functions as his mind. Imagine Memento and 50 First Dates rewritten as a Brighton bromance, and you’re halfway to this unforgettable film. Next screening on 30th June Pussy Riot: A Punk Prayer Extreme courtroom drama The story of Russian female punk activists Pussy Riot, complete with rehearsal room footage, childhood photos, performances, court appearances, family interviews, and all the media mayhem that followed their performance in Moscow’s biggest cathedral. Three members were arrested and two are still serving time in a penal colony. Nadia, Katia and Masha’s court statements alone are worth seeing on a big screen to remind yourself why they became feminist superheroes, and why Pussy Riot matters. In UK cinemas from 5th July Blackfish Mommy don’t take me to Seaworld Blackfish is something of an accidental save-the-animals film. Director Gabriela Cowperthwaite started by investigating the death of a whale trainer at Seaworld, and uncovered a long history of ‘accidents’. The horror stories and footage pile up, heaping shame on Seaworld without tipping over into viewer voyeurism. By tracing the story of a whale called Tilikum from capture in 1983, through multiple incidents, up to his sad situation today, the whole bloody mess is laid out as clear as water. In UK cinemas from 26th July Project Wild Thing An unusual nature trail Self-deprecating dad David Bond is on a mission to save nature. His children’s attention spans will become as tiny as their underused wellies unless he does something serious. David appoints himself Marketing Director for nature and sets out on a rebranding mission, which at first seems like a joke, until he starts pulling in advice and favours from the world of marketing. The result is a hip and funny film you can’t help liking, about the oddness of branding and our often awkward relationship with nature. Released in late July Particle Fever See scientists swearing If you still don’t understand the Hadron Collider or the Higgs boson – so that’s most of us – then this film will help you get your head around the most stunning human discovery of the century so far. It’s beautifully shot, very funny, brings out the real personalities of scientists, and includes women in key positions who make links between science and art. The physics is explained so well that it sti

It's good to see Chinese people challenging the culinary habits of the Yulin dog meat festival and rescuing animals destined for the pot. Not only brutal but a health hazard, most of the estimated 10,000 animals killed in appalling conditions are strays and abductees, so who knows what diseases they're carrying?Apart from concern about the fate of man's best friend in Guanxi province, we should also worry about the state of the human beings doing the killing and consuming. Dogs are not as intelligent as pigs (so there goes our bacon sandwich) but their sociability is a lot more obvious ... unless you own a cute Vietnamese pot-bellied pig or raised a Babe from piglethood.Personally, I wouldn't eat any animal that ate other animals, especially considering what we know about kuru or bovine spongeiform encephalitis (BSE) which Britain gifted to the world.It requires a heart of stone to ignore their pain, so what damage are people doing to themselves? It's not quite as mad as the bloodfest of the Faroe Islands, where pilot whales are slaughtered in huge numbers by men, women and children apparently in the grip of some sort of blood-lust trance, but the degree of insensitivity towards sensate creatures — whether it be fox hunting, hare coursing or skinning dogs, sometimes alive — makes you wonder what's happening to their inner health. The (very) few people I've met who happily eat dog and cat have invariably been cold fish themselves. Dining on dogs is better than humans starving. Back in the bad old days when entire communities died from hunger, eating dogs and other furry creatures including cats and rats was understandable. But famine is no longer a threat and dogmeat is an expensive luxury, considerably dearer than chicken, pork, beef, fish and duck. The consumption of tiger penis, rhino horn, monkey brains or shark fins are wasteful destructive barbarities we can do without. But before you comfort yourself that we're more civilised, how about the super-wealthy devouring people's lives while enriching themselves? Or US Republican candidate Charlie Fuqua calling for rebellious children to be executed? Or killing innocents by drone attack in order to get at one alleged terrorist, at the rate of fifty to 1?Barbarism is everywhere — it just manifests differently.Fin for all the familyMadam Miaow says ... visit Anna Chen's website here: http://www.annachen.co.uk/ Anna's food blog here: http://annacheneats.blogspot.com/

Live review: Shannen Bamford EP launch Support from Vanessa Murray, Just By Chance, and Thom Morecroft @ Heebie Jeebies basement Saturday 15th June 2013 On arrival at the basement of Heebie Jeebies I was welcomed by what seemed liked a grotto. The arches were adorned with fairy lights and long chain like decorations with paper planes hanging from them. There was a general buzz in the room with a calming friendly atmosphere. I introduced myself to Shannen, The first thing I noticed was that she had changed her hair colour. She is now blonde. New EP, new look maybe. The evenings entertainment started quite early and unfortunately I missed two of the support artists, Vanessa Murry and Thom Moorcroft. Next on the tiny stage was a  two piece, Just by Chance – Liz Owen and Andy Jones. Fresh on the heels of their their recent support act for Midge Ure. They played an energetic set with some clever guitar work and voices that complemented each others style. After a short break for refreshments etc, Shannen appears on stage at 9.30pm. Maybe a little nervous but remained professional in the delivery of her first song Fallen which started with some slow and soft strumming. The crowd serge forward making the set more intimate. Applause and cheering as she worked her way through the set list, Break Through, Lost You, Hide and  Don’t Let Go, such a sad song, gentle chords with the violin weeping throughout this lovely track. The crowd go mad continuing with their support. Control builds up gently and the audience start clapping along to the melody. Change, again starts with a soft intro, with an echo on Shannen’s voice. The cello and flute stand out on this track. The song closes with a beautiful piano solo which flows in to Breathe Me. The vocals speak of hold me, wrap me up and warm me up. Definitely the stand out track of the evening. The set continues with Still Mine and Without You. Shannen tells the audience that its Simon the pianists birthday, followed by an impromptu rendition  of Happy Birthday, the crowd join in with jeering and applause. For the last song Left Behind, Shannen sits at the piano and is accompanied by the string section bringing the set to an end. I have to say this was a tremendous evening, The audience were fantastic. The set was beautifully balanced and Shannen’s passion and energy light up the room. Shannen has just released some dates for your diary. Sat July 13th at Camp and Furnace Saturday July 18th at The Dome Saturday July 27th at Elevator. Further details can be found on www.bandsintown.com © 2013 Ian Sharp – Liverpool Acoustic Shannen Bamford website - shannenbamford.com facebook - facebook.com/shannenbamfordmusic twitter - @ShannenBamford soundcloud - soundcloud.com/shannenbamford >>>> // google_ad_client = "ca-pub-3061208378211823"; /* news feed */ google_ad_slot = "9955546583"; google_ad_width = 468; google_ad_height = 60; // _ // // // Live review: Shannen Bamford EP launch @ Heebie Jeebies The post Live review: Shannen Bamford EP launch @ Heebie Jeebies 15/6/13 appeared first on Liverpool Acoustic.

Just occasionally, something will crop up that restores your faith in humanity's future. The huge appetite for cinematic 'private views' hosted by experts is one such thingThe phenomenon of live art broadcasts is a heartening example of things getting better and people becoming smarter, more cultured, more curious. The kind of trend that makes you optimistic about the future of civilisation.This evening, crowds will gather at cinemas all over Britain to watch Pompeii Live, a cinecast of the British Museum's magnificent exhibition about ancient Pompeii and Herculaneum. The event has reportedly sold extremely well and will be shown live in HD at 280 cinemas in Britain and Ireland, with screenings to follow in 51 countries. It will be a "private view" of the show in the company of experts such as Mary Beard and the exhibition's curator, Paul Roberts.Live art screenings – the National Gallery's Leonardo live event last year was a pioneer – are becoming a global phenomenon. British cinemagoers will soon be able to see Munch 150 live from Oslo, a private view of Norway's blockbuster celebration of its greatest artist.What does this phenomenon mean? Why do audiences want to watch a live gathering of experts at an exhibition? It clearly reflects the massive popularity of art. It may also exploit the lure of those magic words "private view". But the reason this feels like a victory for civilisation is that these cinema events are not like conventional private views at all.There are exceptions to every rule, but on the whole, actual private views of exhibitions tend to be purely social events. A posh one might be followed by a dinner, and a pompous one might include a couple of speeches. But basically, it's a drinks party with occasional sidelong glances at the art on the walls.What's fascinating about these new live art events is the way they totally reinvent the private view, replacing it with a more intelligent style of celebration that has been invented for these occasions. You see the exhibition on screen and learn about it from curators and commentators. It's fun but informative. The featured exhibitions are the likes of Manet and Pompeii. It's serious stuff.There is currently a debate about the quality of factual television. One thing the appetite for these live exhibition screenings reveals is that all over Britain and far beyond, there is a hunger to learn as well as to look.PaintingExhibitionsArtHeritageJonathan Jonesguardian.co.uk © 2013 Guardian News and Media Limited or its affiliated companies. All rights reserved. | Use of this content is subject to our Terms & Conditions | More Feeds

Grimes on the Beach has, understandably, garnered more attention in this Britten anniversary year but one of the other major productions, the performance of Britten's three church parables in their original location of Orford Church, is unmissable. (Judging from reports we have heard, Grimes should prove so as well - we will be there later in the week.) Curlew River, Photo by Robert Workman Director Frederic Wake-Walker has gone back to the source. I should perhaps let the composer himself explaining. Writing in the programme for the 1964 festival, Britten said: It was in Tokyo in January 1956 that I saw a N?-drama for the first time.... The whole occasion made a tremendous impression upon me, the simple touching story, the economy of the style, the intense slowness of the action, the marvellous skill and control of the performers, the beautiful costumes, the mixture of chanting, speech, singing, with which three instruments made up the strange music - it all offered a totally new 'operatic' experience. The 1964, 1966 and 1968 Aldeburgh Festival programme books Whether or not Wake-Walker has read this I'm not sure, but he does seem to have held true to these core principles and as someone as unfamiliar with both the art form and these specific works as Britten was in 1956, they made a powerful impression on me. Orford church offers limited stage space, a square of what cannot be much more than five meters across and deep. The poor sightlines are partially rectified by this being raised up substantially. Beginning at 9.30, meaning it is dusk outside, the church in near darkness, chanting monks make their way down the nave of the church and take their places, the sound gradually getting louder and filling the space wonderfully. In a nice touch, the musicians of the impressively versatile Aurora Orchestra form part of this troupe, carrying their instruments where practical, before peeling off to one side to take their places. Ben Payne's lighting design is extremely simple too, mostly foot lighting, heightening the dramatic effect, both in terms of the way the performers' faces are illuminated and also the way this casts shadows upwards onto the white walls of the church. (Orford is a particularly good location in this regard.) The N? style, with its hand gestures and tableau feel is extremely well served by this. Photo by Robert Workman Curlew River (first performed on 13 June 1964) tells the story of a mad woman, wandering, searching for her lost child. It is an emotionally fraught and compelling tale, slightly reminding me of Janá?ek's Jen?fa. In keeping with N? tradition, she is played by a man, James Gilchrist (the part having originally been written for Peter Pears, shared with Robert Tear in the original performances). And while he is very good, as he is throughout the parables, this aspect did not completely convince me. The standout performance for me was Rodney Earl Clarke's ferryman who was a commanding presence on the stage. However, from the chorus to the spirit of the boy (not specifically credited - perhaps this is shared between the boys at different performances), there wasn't really a weak link. Britten's score is impressive too, both for what he achieves with a minimal ensemble in terms of texture, but also in the way he underscores the drama, especially with the drum. His integration of eastern influences is also well judged. Throughout the parables the Aurora Orchestra under Roger Vignoles, directing from the chamber organ, do not put a foot wrong. On the small stage there is no room for elaborate set (and given the production is touring to London, Buxton and St Petersburg, you wouldn't want one anyway). In Curlew River, Kitty Callister's designs consist of little more than a wooden boat which breaks up to form a shrine towards the end. And yet, through skilful direction, and effective use of movement and gesture, it never feels small or l

“The BBC is like a yacht with a particularly heavy keel. You can knock it flat but you can’t turn it over": Guardian columnist, Steve Hewlett, at Grassington Festival. Tom Swain reports for us.

Theatre Well, it's not Romola Garai if as this week's column suggests Secret has never acted nude. Romola's been naked on several occasions, most prominently in The Crimson Petal and the White. Fiddlesticks. On the upside the fact that Secret hasn't acted naked and that a director would think that isn't necessarily a good idea narrows things down quite a bit, or at least, offers a piece of important information should a specific list of potential names become a possibility. There are other titbits. We know for example that she's the sort of actress who would be given a job out of the blue at the theatre. She's famous enough, at least in some circles, or has been for that. We also now know what kinds of jobs she's done. We have a confirmation that she's done commercials, or at least it's implied. She's also done "screen" and theatre and in the theatre a play in which a character is walking around naked for a whole scene should the director choose to. Here's some. Here's some more. As a side note, I once saw an all nude midnight production of Hair at the Edinburgh Festival. That's not something you ever forget. I also saw an experimental dance piece at university which just consisted of the two performers artistically removing their closes then putting them back on again to the gangling about of a gamelan. It was a matinee. I can't forget that either for a whole other set of reasons, and no, not because I was one of the performers. Enjoy that image nonetheless people I've met. Nevertheless, if not Romola, who?

Michelle Dee writes about a new addition to Hull's artistic quarter, Projection Rooms, opening this August.