Interview: Oscar Crabb

OSCAR CRABB is an artist in his third year at the Slade. Working mostly in textiles, he explores sustainable practices and uses art as a means for political discussion. Jean Watt interviewed him about his practice, how he’s staying creative at the moment, and how this lockdown period might affect his future work.  What have you been working on at the moment?  I haven’t been able to make any of my usual work, so I’ve been mostly planning what I could do when I’m able to access my materials again, as they’re currently locked inside my studio at the Slade. In the meantime I’ve been doing some weaving at home on a loom, drawing and a bit of writing, just trying to keep up momentum.  And what else have you been doing day to day?  Cooking, lots of cooking, making cocktails…  Tell me more!  I’ve been trying out some new…Continue Reading

Interview: Oscar Crabb

Onwards and Unmoving

PHOEBE THOMAS contemplates Mark Leckey’s O’Magic Power Of Bleakness There’s something unsettling about seeing a motorway in stasis. They are meant for high-speed transit, for vehicles to enter and exit, for commutes to work, short trips and indefinite moves. They are in constant flux; they cause cities and towns to change and expand at an ever-rapid pace. Mark Leckey’s replica of the M53, installed across several galleries at Tate Britain, consciously contradicts this intended function of motorways. No journey can happen here; no one can enter or exit. There is a sense of stifling stillness that is conjured by this structure—one that reflects the emotions evoked through the three video works that are projected on the walls of this gallery space: Fiorucci Made Me Hardcore (1999), Dream English Kid, 1964-1999 AD (2015), and Leckey’s most recent work—specifically created for this exhibition—Under Under In (2019). As spectators watch these video works…Continue Reading

Onwards and Unmoving

2019 RIBA Stirling Prize Shortlist

BRUNO REYNELL discusses the common thread in shortlisted Stirling Prize buildings Earlier this month saw the shortlisting of six buildings for the UK’s most prestigious architecture prize. Awarded annually by the Royal Institute of British Architects (RIBA), the Stirling Prize takes into account a range of criteria, from innovation and originality to client satisfaction, in order to bestow the accolade of ‘the UK’s best new building’. One of the biggest stories in 2019 within the sphere of architecture has been ‘Architects Declare’. This is a manifesto initially co-signed by 18 Stirling Prize winning UK architectural practices, including heavyweights such as Foster + Partners and Zaha Hadid Architects. ‘Architects Declare’ signals a recognition that buildings and construction contribute significantly to climate breakdown and biodiversity loss, and establishes a set of objectives aiming to mitigate these crises in the future. It is fitting then, that sustainability should be a point of excellence…Continue Reading

2019 RIBA Stirling Prize Shortlist

In Conversation with Aysha Almoayyed

INNOKA BARTLETT interviews artist Aysha Almoayyed regarding her exhibition piece at the ArtBAB Pavilion. Aysha Almoayyed’s Lost Paradise was showcased at the 2019 Art Bahrain Across Borders (BAB) Pavilion as part of Bahrain’s International Art Fair that took place in March – Manama, Bahrain. Displayed in the pavilion were selected works by thirty of the most creative Bahraini artists. Born in 1988 in Manama, Bahrain, Aysha Almoayyed studied Marketing at Bentley University. She then completed her MFA in Fine Art at Goldsmiths University. Experimenting with mediums including drawing, photography, and installation her artworks explore societal forces in Bahrain and the transformation of the artificial and natural environment. Almoayyed is the youngest recipient of the most renowned art award in Bahrain, the Al Dana Prize. She shares her opinions on contemporary art in Bahraini culture: –Your work is featured in the ArtBAB Pavilion – what is your interpretation of this idea of ‘Bahrain Across Borders’, and how…Continue Reading

In Conversation with Aysha Almoayyed

Beauty is Terror

MIER FOO explores the obsession with beauty and the use of Ancient Greek concepts in Donna Tartt’s The Secret History. The Secret History subverts the usual murder mystery plot line. In the very first sentence of the prologue, Tartt’s narrator Richard confesses his role in the murder of a boy named Bunny, alongside his close-knit group of friends. Bunny is described as a handsome, Kennedy-esque young man with aristocratic tastes but without the money to show for it. The first half of the novel focuses on how and why the murder takes place, while the second half is dedicated to the aftermath of Bunny’s death. Most striking is the novel’s obsession with beauty, blended with tributes to classical mythology. The characters view the world of the Ancient Greeks as the epitome of measured beauty and aspire towards their aesthetic ideals. Richard’s hamartia (‘fatal flaw’) is revealed to be ‘a morbid…Continue Reading

Beauty is Terror

Beautiful Boy

PHYLLIS AKALIN reviews Beautiful Boy, Felix Van Groeningen’s testament to the Sheff’s family story. Based on the life stories of Nic Sheff (Timothée Chalamet) and his father, David Sheff (Steve Carrell), Beautiful Boy vividly portrays the struggles of addiction and recovery. Building from the memoirs of both, director Felix van Groeningen provides an intimate and authentic insight into a family life which has been tainted by the son’s addiction to crystal meth. Set in the stunning scenery of sunny California, the film follows David Sheff’s relentless efforts to understand and assist Nic. Flashbacks to Nic’s complex childhood, stained by his parents’ divorce, alternates with scenes from his late teenage years. We witness both David’s sleepless nights, burdened with paralysing fear for his son, and Nic’s cycle of recovery and relapse. This tumultuous father-son relationship forces us to question if one can ever love someone else enough to save them from…Continue Reading

Beautiful Boy

Bluelight

ENERZAYA GUNDALAI reflects on the role of technology in art through the Saatchi Gallery’s most recent exhibitions. Nothing can escape the glare of blue light in our digital age. Blue light emanates from every computer, smartphone and television screen. Most will agree that these technologies have become inseparable from our daily existence. Contemporary art has kept pace with these developments. At the Saatchi Gallery, Georgii Uvs utilised ultraviolet (UV) light as a central component in his arwork; within a neighbouring exhibition space, the digital art studio and collective Marshmallow Laser Feast employed virtual reality (VR) headsets in their installation, We live in an Ocean of Air. Both artist and art collective manipulated light through the vehicle of technology in order to shift (and to some extent, control) the viewer’s perspective. Was it the artists’ aim in their use of artificial light to illuminate the direction of fine art in the…Continue Reading

Bluelight

The Room at The Prince Charles

HEATHER DEMPSEY delves into the cult of ‘bad films’ through the example of Tommy Wiseau’s famously mediocre take on the love-triangle. ‘Right, I’m just going out to get some spoons, and then when I get back we’ll go over the rules.’ With this perplexing statement I was left standing bewildered in the kitchen of my flat, clutching a G&T, wondering what exactly I’d agreed to participate in as I heard the click of the closing front door. It was the long-awaited evening of our flat night out to one of the Prince Charles Cinema’s infamous screenings of The Room, the inexplicable cinematic clusterfuck spawned by Tommy Wiseau. Widely acknowledged as the ‘so bad it’s good’ film to rule them all, it has accumulated a sizeable cult following since its 2003 release. In 2009, the fan-favourite cinema, much loved for its themed all-nighters and special screenings, begun hosting Rocky-Horror-style participation showings…Continue Reading

The Room at The Prince Charles

Survivor Cafe: The Legacy of Trauma

DANIEL LUBIN covers Elizabeth Rosner’s talk at Jewish Book Week 2019. This year will mark 74 years since the end of the Holocaust, nearly a lifetime. Its legacy is prominent: in textbooks, in memorials, and, for some, in memories. But where else does the Holocaust linger? American writer Elizabeth Rosner addressed just this issue and more while discussing her 2017 book Survivor Café with psychotherapist Jane Haynes at Jewish book Week. Rosner engaged with not just the vivid ways in which the Holocaust survives in the consciousnesses of those directly or indirectly affected, but how trauma is universally inherited across generations. Rosner is consistently calm and articulate while discussing deeply personal histories that are not easy to carry. Born and raised in New York, she is the child of two Holocaust survivors. But ‘survivor’ is a term she uses in want of a better word. Much of Rosner’s discussion highlights…Continue Reading

Survivor Cafe: The Legacy of Trauma

Sense Me

ENERZAYA GUNDALAI presents the highlights of UCL MODO Fashion Society’s 2019 Show: SENSES. Under the railway vaults of London’s Steel Yard, SENSES showcased MODO’s latest designs. But I, along with the enchanted crowd, was met with more than just clothes; otherworldly beings seemed to surface, governing the living realm for a moment or two. Nathan Vandevelde opened with his two-part exuberant series entitled ‘Spirit Jungle’ and ‘Spirit Jungle pt 2.’ Ethereal sea nymphs took their first steps on land in ‘Spirit Jungle’. They moved gracefully across the runway. Four drag queens with their airy gowns and delicate face masks were prominent features in ‘pt. 2.’ Their bodies were spotlit and dressed in shimmery, figure-hugging tunics. Vandevelde’s tribute to the LGBTQ+ community was both empowering and spectacular in kaleidoscopic ways. While ‘Spirit Jungle’ was dramatic and provocative, it was Vandevelde’s line ‘Soul Searchers’ that made its appearance during the second half…Continue Reading

Sense Me

Dip-Trip

ESTELLE CIESLA discusses dematerialisation in Yves Klein’s International Klein Blue (IKB). An unframed, unwavering blue painting stands before you. As you stare at the painting, the square of colour slowly detaches itself from its canvas medium, drifting through the air. All at once, blue envelops you, permeates you. Chills crawl under your skin. The ultramarine induces a state of vertigo. An endless, deep, and obsessive ultramarine possesses you; its saturation stains your mind. My first encounter with a Yves Klein painting was decidedly dramatic. Encountering his painting in his hometown of Nice, France, my fascination with the strong, vivid blue was instantaneous. I speak about a specific blue: blue #21177d, otherwise known as International Klein Blue (IKB). The colour is distinctive; once seen, IKB will stay in your mind. The vivid ultramarine became Klein’s signature. The holistic feeling of Klein’s work is palpable every time I come across one of…Continue Reading

Dip-Trip

Disjointed Anatomies

THOMAS NGUYEN interviews Sharon Yip and Magda Tchorek-Bentall, the director and curator of UCL Anatomy Society’s first-ever art exhibition, Disjointed Anatomies. On Saturday 2nd March, the UCL Anatomy Society will be holding its first-ever art exhibition around the theme: ‘Disjointed Anatomies’. For an entire day, the South Cloisters will transform into a curated display of intersectional works from student of all academic backgrounds. Each artwork will showcase a unique interpretation of the anatomical body. Sharon (Exhibition Director) and Magda (Curator) share their thoughts: Talk me through your roles in organising Saturday’s exhibition. Sharon: We started this project last year when I was elected exhibition director at the AGM of the Anatomy Society. This role did not exist before so I’ve had the freedom to make it – just like the exhibition – largely what I wanted it to be. I started thinking about it in June last year and the concept…Continue Reading

Disjointed Anatomies