Once again I’m back at the Barbican Library for an extraordinary exhibition with very different but fascinating themes.
Alison Aye’s first work, entitled Exile Textiles, was started 31st March 2020 and finished on 29th September that year. It illustrates a horrendous period of her life as she cared for her mother, who had terminal cancer, and her father who suffered a stroke. She also lost her job during this period which, of course, coincided with the Covid lockdown. Also included are later pieces from Exile Textiles II: The New Normal and Exile Textile III: The Prequel.
Before you glance at my images I urge you to have a look at Alison’s blog which explains the works in more detail. I promise you it’s not all doom and gloom – it’s very funny in places. For example, do you remember YOU HAVE NO AUTHORITY HERE JACKIE WEAVER! Or Barbara Windsor as Peggy Mitchell yelling ‘Get outta my pub!’ Or Dominic Cummings allegedly calling Carrie Symonds, now Mrs Johnson, ‘Princess Nut Nuts’. I certainly do – and they are all referenced here.
Alison has the following to say about the other work on display, Civilisation:
‘In ‘Civilisation’, I’m questioning the bias of my early art education, which came mainly from Lord-Sir-Baron-Kenneth-Clark, born into a wealthy ‘textiles family’, and his popular television BBC programme/book, ‘Civilisation’. I’ve made stitched collages from said book (published by BBC/John Murray, this edition 1971), combined with discarded gallery (mainly Tate) magazines. Lord-Sir-Baron-Kenneth omitted female artists from his account, which is what started me off on these collages, but as the project progressed I have annoyingly fallen in love with the snobby bastard. I don’t agree with what he is saying a lot of the time, but his style of writing is superb and an utter joy to read.’
Images from Civilisation:
Alison’s history of Royal Academy submissions …
She finally made it into the Royal Academy Summer Show last year after 31 attempts …
The winning work (not on display at the Library) …
As regular readers will know, every now and then I can’t find a theme that will support an entire blog and, in such cases, I just raid my image archive and see what I come up with. This is one of those days.
I walk across Gilbert Bridge almost every morning and in mid-June I noticed this pigeon squeezing itself into a corner by a pillar …
At first I thought it was unwell, but then a few days later I noticed it had a companion …
Then, over the next few weeks, they both started appearing with twigs in their beaks …
I cannot claim to be an authority on nest building (or pigeons, for that matter) but I didn’t think that location was viable and, sadly, one month later no progress had been made …
And, frankly, there was barely room for the two of them never mind a nest as well …
It was also obviously looking a tad unhygenic, but I don’t think that tends to bother pigeons.
Now they seem to have abandoned their efforts but obviously I will report back if they return. Pigeons get a very bad press, which I think is rather unfair. If you want to know more about them (and some of their gallant ancestors) click here for my blog ‘What do pigeons do all day?’
One day I found this little poem by Terry Ryan pinned up alongside a church door:
Every time I pass church I stop and make a visit So when I’m carried in feet first God won’t say, “Who is it?”
Wherever we travel I head for churches and churchyards at the earliest opportunity and am usually rewarded with interesting sights. In Italian churches, it’s common to see votive limbs (or other body parts) particularly in the form of metal or wax replicas. They are placed there to express gratitude or to seek divine healing for specific ailments. I came across these in a church in Sorrento, I think they are rather beautiful …
Nearby were some extraordinarily detailed representations of the Nativity …
They were accompanied by scenes of people going about their normal business (plus some hovering angels) …
Not sure what this represents – probably a religious festival …
I think it’s so lovely in Italy when forthcoming funerals are announced on notice boards along with some details about the person …
Back in the UK, the Wedding Routemaster parked up behind St Lawrence Jewry …
The King’s Birthday flypast …
At St Giles Cripplegate, John Milton meets a double bass travelling case …
The Honourable Artillery Company on their way to provide a gun salute for President Macron’s State Visit …
A surprise in St Mary’s Church, Tenby, the man who invented the equals sign =
Nearby in St Nicholas’ Chapel is the tomb of Margaret Mercer, wife of Thomas ap Rees of Scotsborough. Margaret died in childbirth in 1610 at the age of 30, having already borne ten children. The seven children who survived her are shown beneath her effigy, while above her is a likeness of her husband in a kneeling pose. The memorial is beautifully restored and repainted to emulate its original richly decorated appearance …
I really like authentic, handwritten signage …
Here’s what it refers to …
On our way to Tenby I stopped by one of my very favourite War memorials. It’s on Platform 1 at Paddington Station …
The memorial consists of a bronze statue of a soldier, dressed in heavy winter clothing, reading a letter from home. One commentator imagined that the home-knitted scarf may have been a gift from his mother or sweetheart and I can’t help but agree. The sculptor was Charles Sargeant Jagger (1885–1934) and you can read more about the background to the sculpture here.
Since we were treating ourselves to a first class ticket we could use the Paddington lounge and it’s well worth a visit. Alongside the modern area is what was once Queen Victoria’s private waiting room …
Some of the original wall decoration remains …
There are also other items of rail memorabilia …
I believe the furnishings aspire to suggest ‘Gentlemen’s Club’!
The lounge is also on Platform 1 and is tucked away behind the memorial.
This summer, the Barbican has invited audiences to step into Feel the Sound, a new multi-sensory immersive exhibition that transforms how we think about sound. ‘Taking place across the Centre, visitors can explore how sound shapes emotions, memories, and even physical sensations. Feel the Sound challenges us to listen not just with our ears, but with our whole bodies – redefining what we hear, how we feel, and what we think we know about ourselves’.
For example, there is this display as you walk through the Centre at ground level …
As the sound background changes so does the image …
And what are these people looking at in The Well …
This is what’s happening …
And what I saw when I looked down …
And at Citypoint …
And finally, in Cardiff, just when I thought I’d seen it all …
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What was once the Searcys restaurant on the second floor is now an intimate gallery space overlooking the lake with a splendid view across to St Giles church. It is now hosting its first series of groundbreaking exhibitions entitled Encounters:Giacometti.
‘One of the most significant European sculptors of the 20th century, Giacometti is known for his distinctive, elongated sculptures which experiment with the human form. Responding to the pain and devastation caused by the Second World War, his works proposed a new perspective on humanity and the collective psyche.
Organised in collaboration with the Fondation Giacometti, the first of a series is now open with an exhibition of works by Huma Bhabha. This will be followed by Mona Hatoum in September and Lynda Benglis in February 2026. Their artworks resonate with and respond to Giacometti’s sculptures, opening up new intergenerational dialogues through the timeless themes of death, fragmentation, the domestic, memory, trauma, the erotic, horror and humour. This is the first time that their sculptures will be seen alongside Giacometti’s works’. You can read more about Huma Bhabha in this Guardian interview along with a review here.
Here are some of the images I took when I visited which will hopefully give you a flavour of the exhibition …
Giacometti The Glade, 1950
Huma Bhabha Untitled, 2022
Giacometti Large Head, 1960
Huma Bhabha Untitled, 2022
Giacometti, in the foreground, Four Women on a Base, 1950
Huma Bhabha Untitled, 2022
Nice space …
Huma Bhabha What Should it Be, 2024
Giacometti Walking Woman, 1932
Huma Bhabha Mask of Dimitrios, 2019
Giacometti Three Walking Men, 1948
Huma Bhabha Magic Carpet, 2003
Giacometti Walking Man 1, 1960
The Guardian gave the exhibition 5 Stars and so do I *****
Four of Huma Bhabha’s works are also installed in the lobby …
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