Finish your weekend in style with our guide to the best entertainment, events and places to go in London this Sunday, featuring an array of fantastic ideas that show the city at its best on this day of rest.
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2016 marks the 150th anniversary of celebrated children's author and illustrator Beatrix Potter, who was a frequent visitor to the museum where she would often sit and sketch. This exhibition celebrates the date with artworks, original sketches and her earliest published works on show.
Damp, grey, industrial, miserable. No, not Walsall: Australia. That’s what the opening room in this show of Aussie plein air painting leads you to believe. If you’re expecting searing sunshine, baked earth and piles of discarded Castlemaine XXXX cans, you’re going to be disappointed, Crocodile Dundee. The three artists who make up the bulk of this exhibition saw something darker and greyer in their fledgling nation. Charles Conder, Tom Roberts and Arthur Streeton were mates, three artists who’d seen glimpses of the cutting edge of European painting and wanted to adapt that visual vocabulary to the landscapes of home. And nineteenth-century Australia was a strikingly urbanised place. The early works here show cities in the rain, ships belching smoke into the harbour air, crowds of people gathered in grey swarms. Rainy England, where Roberts studied, weighs heavily on these images, as does the influence of the great James Whistler. It’s only in the second room that the sun properly comes out. Streeton unleashes the blue and gold in an image of rock being blasted away for railways, Roberts whips out the dusty ochre to capture a shepherd herding breakaway sheep. There’s a sweeping vision of the Hawkesbury River, undulating hills, a sleepy vista of a burbling brook. The thing is, most of these aren’t great paintings. There are glimpses of quality – especially in Charles Conder’s brilliantly bright and perfectly composed beach scene – but you can’t help but put these works in r
A showcase of board games that'll be sure to have you reminiscing about rainy days spent competing with your siblings. Over 100 objects will be on display featuring games from across the globe and some of the most iconic examples from the V&A's collection. Favourites such as Cluedo, Trivial Pursuit and Monopoly will also be included and a number of hands-on activiities will give visitors the chance to become part of the gaming action.
Luc Tuymans makes boring paintings. Well, kind of. The Belgian artist has always made pictures that seemingly deal with banal and everyday subject matter – but there's always more hovering behind their bleached, scratchy surfaces. In this new show, he's keeping the concept simple: portraits of people wearing glasses.
The Guerrilla Girls are some of the art world’s most creative complainers, and for over 30 years now, they have been handing America’s galleries their arses on a platter. For their show at the Whitechapel Gallery, they’ve turned their attentions to Europe. This entire exhibition is based on a survey they sent out to 400 art institutions across 29 countries on the continent. In it, they demand stats for their representation of female artists, those who are gender non-conforming and artists of colour. Spoiler: it doesn’t go well. As the Guerrilla Girls announce on a banner on the front of the Whitechapel building, ‘only one quarter’ of those contacted responded (disappointingly, the Serpentine and the Saatchi Gallery were among the no-shows). The completed questionnaires are pasted onto the gallery wall, filled with the urgently scrawled handwriting of gallery directors. Put your contacts in, because there’s a whole lot of reading required for this show. Colourful posters pull out some of the best responses; when asked if it was the first time they’d collected such stats, Manchester Art Gallery replied: ‘No, we talk about these issues a lot’ – but the Guerrillas point out that their collection is still ‘80 percent male and 85 percent white’. The average representation of women artists was a pathetic 22 percent. One of the few glimmers of hope was Poland, where that figure was 28 percent and all but one of the responding galleries had a female director. Informative as all
Sometimes it’s hard to see beyond the shtick. Gavin Turk’s shtick especially. He’s the guy whose degree show was just a blue plaque with his name on it (he failed), the guy who thinks rubbish bags are art, the guy who reckons his signature is a masterpiece in itself, the guy who put himself on the cover of ‘Hello!’ magazine. But all those headlines obscure the truth that beyond the shtick, schlock and schmaltz, Turk is a quiet, clever, passionate and maybe even – whisper it – important artist. Fellow YBA and shtick master Damien Hirst has been collecting Turk’s work for years, and this mini-retrospective is pulled entirely from his own collection and shown in his natty Vauxhall gallery space. The show opens with Turk’s signature. It’s carved into thick card, laid out as a blueprint for a country garden, and scrawled across the wall. It’s even splattered across a whole room of canvasses as he does a little turn as Jackson Pollock. Then he’s plonked himself on the cover of ‘Hello!’. Never mind that it’s handmade, out of focus and that he’d done naff all to warrant a magazine cover at this point in his career – Turk was myth-building. The massive central space in the gallery is given to ‘Cave’, the notorious blue plaque. It’s a bold, obscene, ridiculous, funny waste of space that totally undermines what a gallery’s meant to be used for. Upstairs, Turk casts himself as Sid Vicious in Warhol-esque paintings, or as statues of sailors, tramps and horseguards. There’s a huge
There’s two things you need to know about this show. One: it will make you rethink the European refugee crisis. And two: it contains some of the most beautiful images you will see in a gallery this year. Or ever. Paradoxically, it achieves both these things thanks to some very non-touchy-feely battlefield technology. In his last major installation, ‘The Enclave’, Mosse used film stock that rendered greens as reds, casting the jungly confusion of the war in the Congo as gorgeously, defamiliarisingly pink-hued. This time, the images are all black-and-white, but taken with a camera that responds to heat, rather than light, and which can pick out a human body 30km away. Of course, the major application for it is military, but Mosse uses it to document the experiences of refugees and the results are startling. At the heart of the show is the title piece, ‘Incoming’, a three-screen video projection accompanied by a soundscape of electronic drones and field recordings by Ben Frost. It runs for nearly an hour, but you quickly lose all sense of time. The footage includes scenes we’re all accustomed to: knots of men behind wire fences, people in rubber boats, police in riot gear. But the effect of the heat-sensitive technology is breathtaking: the images are pin-sharp, full of contrast and detail, but profoundly ‘other’. You struggle to read them – especially across three screens – while marvelling at their abstract beauty and moments of delight: a gull flies across a beachscape; a wa
Hyperactive comedy superstar Russell Howard is embarking on his biggest ever world tour – inventively titled 'Round the World' – taking in the US, New Zealand, Australia and Europe. And for his London stint, the Bristolian arena-filler is playing a whopping ten-night run at the Royal Albert Hall. It's not till 2017, but buy tickets soon, is our advice. Plus, wherever possible, Howard will be performing 'in the round'. The former 'Mock The Week' regular is one of the friendliest comics around, moving from topic to topic with effortless ease, and loves to examine life's simple pleasures, tell stories about his mad mum and basically fool around like a cheeky teenager. Unless you've been living in a wifi-free cave, you'll know that his self-titled series 'Russell Howard's Good News' is wildly popular, pulling in millions of viewers and constantly ranking as the most watched programme on the BBC iPlayer. His new Comedy Central offering, 'Russell Howard's Stand Up Central', has been a huge hit, too. But Howard's most at home live on stage. He's a fast-talking charmer, and always a huge amount of fun. Read our interview with Russell Howard
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Michael Nadra Primrose Hill
A second London restaurant from chef Michael Nadra, following up on his lauded Chiswick original. This Primrose Hill version benefits from a canalside location and atmospheric dining areas - including a Grade II-listed horse tunnel, complete with cobbled floor and arched brick ceiling. There are Asian influences on a menu focused mostly on European classics. Expect, then, dishes such as steamed sea bass with prawn and chive dumplings, oriental greens, carrot and ginger purée and a lobster bisque alongside herb-crusted Cornish hake with lobster risotto, rock samphire and sea aster. A six course tasting menu can be matched with wines. Drinks don't play second fiddle here. A martini bar offers more than 20 classic and contemporary martinis, including dry, dirty and dickens. The Primrose martini combines vodka, St Germain and cranberry juice. More than 200 wines are available, with 16 available by the glass.