In each of these periods parts of the world have tasted the sweetness of the fruits (abundant products and accumulation of wealth), while others have had to endure various forms of exploitation, inequality and depletion of natural resources.

Since World War II,  what is known as ‘Globalisation’ is supposed to be the result of planning by certain world leaders to eliminate borders and facilitate trade, thus creating interdependence and reducing the chances of conflict. Initially triggered through international treaties and regulations, Globalisation is assumed to function as an engine that pursues coexistence and global prosperity through free trade, exchange of technologies, people and ideas, while simultaneously diminishing the imbalance between strong nations and the so called “underdeveloped countries”.

After decades of modern Globalisation, are we on the way to achieving peaceful coexistence and true global prosperity?

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Few masterpieces came out of that strand but vintage Serie B or Z movies completely outdated and so much visually enshrined in their time. The wacky special effects and the non-existent acting or dialogues were there to reinforce the feeling of uselessness those films carried throughout their non-glorious runs in theater. Although a mostly US phenomenon, Japan had its own version with the ‘Godzillas’ and only the maverick and young Turks of the late 70′s, 80′s with the likes of Lucas (Star Wars) Cameron (Terminator, Alien ) Ridley Scott ( Blade Runner, Alien) really took the genre seriously enough to invest the time and funds to create proper storyline and build new worlds…

It is hopefully the start of a wider campaign towards the recognition of sci-fi comic books, like Marvel, DC Comics… who can now command serious power in tinsel town, but have been overlooked by the art and literature establishment for decades. A good sci-fi movie is as good as his aliens or robots…should be the premise of any Do’s and Don’t of the Sci-fi rulebook. We had them in the top room with what seemed to be spaceship of a different order. Shinny made of metal pieces, jewellery and shinny artifacts…it does verge on the tacky but hey you are watching a spaceship here, so who is to say what is tackiness in the future? A wide range of artists, with the expected reference to Star wars and… Zapata…the Mexican revolutionary and his sidekick the under-commandant Marcos Downstairs… A few films, some paintings … a not homogeneous lot but a common thread that should enthuse a young and hip audience in search of space frisson. I recommend it if you are wandering towards the Mall on a dark afternoon. Just do not forget that laser beam of yours and those thigh-hugging Lycra pants.

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His name has made the crossover to mainstream media and begun to symbolise a new breed of architect, one whom is at the forefront of young British architecture. He is very much a star in the ascendant and at 38, has already become an architect of international renown despite his youth.

Having set up his own practice in 1994 it was not long before he developed a strong reputation for quality modern design, with an architecture that is easily read and therefore accepted by the general populace and not lost in an egotistical intellectual vagueness. In the 12 years of his practice, his oeuvre has built up from small-scale private commissions (private houses, cafes, bars) on to a wide range of high-profile public buildings, which include libraries, art galleries and theatres. His current project list continues to include his iconic individual residences but now also has an impressive array of all manner of civic and cultural buildings across the globe, a portfolio of work that no doubt is looked on with envy by not only his contemporaries but also the established names, both at home and abroad.

Adjaye’s designs are often radical yet in a manner that allows his buildings to sit well in historical contexts, with designs that provide a new generation of building that is a world away from the pastiche and shallow commercialism that sadly blights much of today’s ‘standard’ architecture.

Adjaye has a uniquely intuitive design approach that allows him to root a building not only to its immediate context but also to imbibe a cultural and historical link that manages to anchor his work to local communities in a familiar and un-patronising manner. A strong sense of materials, texture and light and their interplay, absolutely critical to successful architecture, are all components present in his work.

As an architect he has many artist friends, one of the most prominent of which is Chris Ofili, for whom he designed the artist’s studio (also in the east end of London) and who has collaborated with Adjaye on a number of projects. Much of Adjaye’s work has an artistic flair which is not only due to these close links with the art community but also no doubt from his having studied a fine arts foundation course prior to studying architecture.

Despite his rapidly increasing fame and international stature, Adjaye is rooted in the east end of London and several of his seminal early works (Elektra House, Ofili’s studio) and of late the Whitechapel Idea Store, not to mention his own office, Adjaye Associates, are to be found in the area. As such, the opening of a new two month exhibition (his first major show in the UK) at the Whitechapel Gallery is an absolute must-see.

Key building by David Adjaye:
Idea Store, Whitechapel, east London

New Buildings by Adjaye/Associates:
Timber-frame prefabricated house, de Beauvoir Town, Hackney, east London
2007

Rivington Place, Rivington Street, east London – 2007

Manchester gallery project, northern England – 2007-
David Adjaye with Maurice Shapero + Stephenson Bell
£55m: Apartments, gallery, retail, market, bus station

Stephen Lawrence Centre, Deptford, southeast London – 2007

Bernie Grant Centre, Tottenham, east London – 2007

inVIA – Institute of International Visual Arts, London – 2007

Museum of Contemporary Arts, Denver, USA – 2007

Buildings by Adjaye/Associates (alphabetical):
Dirty House, Shoreditch, east London, UK – 2001-02

Elektra House, Whitechapel, east London, UK – 1998-2000

Idea Store, Chrisp Street, Poplar, east London, UK – 2001-04

Idea Store Whitechapel, Whitechapel, east London, UK – 2001-05

Nobel Peace Center – Exhibition Centre, Oslo, Norway – 2002-05

T-B A21 Olafur Eliasson Pavilion – Art Installation, Venice Biennale, Venice, Italy – 2005

Adjaye/Associates – Stirling Prize nominated 2006 for Idea Store
Client: London Borough of Tower Hamlets

David Adjaye reformed his studio in 2000 as Adjaye/Associates

David Adjaye – Teaching Positions:
Architectural Association, London : unit tutor

Previously:
Royal College of Art, London : lecturer

David Adjaye – Awards:
RIBA First Prize Bronze Medal : 1993

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Three artists from east London, Alan Bond, May Cornet, and Dawn Shorten have been chosen as lead artists in the Artvaults project which takes place from July 9th to Oct 9th.

These artists have just returned from a showing in Rome and Artvaults is a development of that show. Dawn Shorten and Alan Bond will be sharing the Castle Vault with pieces about Space. Dawn Shorten, whose work is invariably wry, humorous and deadly serious will show ‘Fly Me To The Moon’, a spectacular reconstruction of a rocket launch. Alan Bond has constructed planetarium consisting of a geodesic dome which sits on a circle of doors scavenged from skips. Light penetrates through hundreds of holes drilled in the dome.

The PlanetariumThe Planetarium is a response to the form, dimensions and dark of Castle Vault. It develops ideas about space that have informed Alan Bond’s recent paintings in which eroded, scuffed and perforated painted surfaces parallel the cosmic history of collision, creation, destruction and remaking.

In The Planetarium he uses the cast-offs of the material world and makes reference to the world of advertising and consumerism. Exploiting the aesthetic attributes of these re-cycled materials he transcends their source, to create a mysterious allusion to the ethereal beauty of the night sky

Somewhere in this piece are cryptic references to medieval ideas about the underworld, heaven and earth.

May Cornet will show at 94 High Street. Her installation is reminiscent of a laboratory. The illuminated seed boxes suggest a process of cloning but May sees each of the seedlings having the potential to grow into something unique. Delicate, clinical and beguiling, the work suggests a scientific intervention into the natural processes of creation and germination.

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News From Nowhere: Visions Of Utopia promises to be one of the largest art events in London this year. A number of public sites in North East London, including The William Morris Gallery, the Changing Room Gallery, The Waltham Forest Theatre situated on an island and surrounded by a moat, Lloyd Park, and a massive building site in the centre of Walthamstow, The Vestry House Museum and Walthamstow Town Hall will be used as stages for exhibitions, interventions, installations, audio visual works, music performances and public art activities during September/ October 2005.

CarnegieBased on the title of the William Morris novel News From Nowhere, and set in and around his birth-place, the project aims to re-examine the legacy of utopianism: upheld by the idealists of the 19th and early 20th century, who believed passionately in the possibilities of radical social change, with visions of a future egalitarian world, it is a distant cry from our post-modern, post-ideological times.

An international line-up of artists, designers, musicians, writers, thinkers and performers will be presenting their work in the context of the various spaces. The events, works in progress and completed pieces will be documented and published on-line in the Visions of Utopia web site. The site will also provide a global forum for open contributions, reports and sightings of utopia.

A special limited edition newspaper, News from Nowhere will be published and distributed, including essays, documentation and interviews with local and global residents, as well as those of the participating artists and organisers. The 18th-century Water House, Morris’s family home from 1848-1856 is now the William Morris Gallery. It is the only public museum in the world devoted to this country’s best known and most versatile designer with internationally important collections illustrating Morris’s life, achievements and influence.

Art Utopia For the first time, a selected group of artists, designers and writers will be given a unique opportunity to place work within the House and permanent displays, resulting in a series of juxtapositions and interventions alongside the work of Morris and the Pre-Raphaelites; featuring the legendary Tony Benn, designers Ralph Ball and Maxine Naylor, architect Meredith Bowles, artists Stephen Williams, Liane Lang, Anderson Inge, Malcolm Barrett, Luis Gonzago Barriera Bras Keith Ball and Steve Wheeler. With sonic work by Isobel Jones and video performance from Claire Robins.

Other Venues
The Changing Room Gallery
Vestry House Museum
Arcadia (a massive building site)
Waltham Forest Theatre, The Moat, Lloyd Park

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Nina considers the musical language of jazz to be one of her greatest inspirations. Her exhibition, Jazz in the City is the culmination of a life’s work for this innovative and unique artist.

It also begins a tour featuring Nina as an artist in residence, to include The International Jazz Festival in Moscow, during which Nina’s work will be exhibited at the State Museum for Contemporary Art, Moscow.

Nina was born in the Russian city of St. Petersburg and obtained a Masters Degree from Moscow’s Gubkin Academy. In 1991 after

she moved to Germany, Nina started her career as an artist where she studied under teacher and artist Margarita Budini. From 1994 to 1998 she established her studio in The Netherlands and in 2000 she moved to London where she has been living and working as an artist. Now based in Richmond, Nina finds artistic inspiration for her paintings in music, poetry and philosophy. The powerful colours and dramatic shapes in her paintings reflect her own experience of living in different cultures, while still infused within her Russian heritage. Nina says of her traveling experience, “I have found the most success in London, because London is a cultural centre and a major port. Kinky-Kalinki Transrussian Express is a tribute to London’s art scene, to show how you can be poor and foreign in London and still be accepted.”

Kinky-Kalinki Transrussian Express is a documentary film charting London’s art, music and club scene from 2000 to 2005, the length of time that Nina has lived here. “I have focused on one east London club in this film,” says Nina, “Rhythm Factory on Whitechapel road where it is possible to have live music, art on the walls and a club night all in one. East London is a buzzing area, that’s not to say that Richmond where I am based is not buzzing, but East London has a modern and contemporary feel.”
Old Vinyl.

Nina has exhibited her work in both solo and group shows and has begun to exhibit her work across Europe and overseas. In December 2003 Nina represented the UK at The Florence Bienniale and in November 2004 was invited to be Artist in Residence for Black History Month at the National Opera Studios in London. Other artistic residencies include River Walk at The OXO Tower and The Players Theatre in The West End.

Carol Cordrey will be in conversation with Nina on the 22nd of September at the Glass House Gallery and comments, “Jazz was once the music of yesteryear. Now, it is growing in popularity in cities the world over. Its powerful rhythm and improvisation have always appealed to performers with strong characters. Using instruments or voices, passion or pathos, they have used jazz to stir the human spirit. Nina Gruschwitz has an expressive personality, loves jazz and imbues all her work with a plethora of emotions. With brushes for instruments, this artist reinforces the contemporary impact of jazz. It is now seen and not just heard.”

Nina Gruschwitz’s exploration of Jazz and its influence on her art is to be exhibited at the Glass House gallery from the 13th of September.

The Glass House Gallery
2-3 Bull’s Head Passage, Leadenhall Market, London EC3, 13 Sept – 9 Oct
In Conversation: Artist talk with Carol Cordrey: Thu. 22 Sept 6 – 8pm
Special event: Kinky-Kalinki Transrussian Express: Wed 21 Sept 8pm-midnight
Rhythm Factory
16-18 Whitechapel Rd, London E1 1EW
info@thecynthiacorbettgallery.com
www.thecynthiacorbettgallery.com

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Work from Peter Ainsworth, Henrietta Armstrong, Emilie Bell, Claire Brewster, Angela Corcoran, Nicola Cunningham, Charlie Danby, Joel Ely, Kirsty Harris, Richard Hubner, Cheryl Lane, Harry Logan, James Manning, Tracy Neal, Johanna Nilsson, James Ormiston, Cara O’Keefe, Scott O’Rourke, Emily Power, Fiona Przybylski, Sophie Ruderman, Lucie Russell, Ben Twiston-Davies, Liam Williams and Mike Young will be for sale, with a percentage of the proceeds donated to Hackney Empire.

Theme Park Charlie Danby’s woodland constructions tell the story of that which is lost, and that which is to be discovered. Remnants of roller-coasters, references to theme parks, ruins, castles, bridges and fortified walls that separate nothing and safeguard even less. Myth and fairytale bring them into a landscape of synthetic idyll, where objects are both visible and invisible. The works are built on platforms that float like islands, scale and reference shift constantly and mirrors present optical recess and provide strange vistas.

Joel Ely’s paintings have been selected for the BP Portrait Award for the second consecutive year. His practice involves researching and combining disparate elements of the histories, theories and fictions surrounding food, nature and figurative art. This is realised through a bastardised approach to painting, performance and installation.

Kirsty Harris’ breakfast scene installation becomes quite unsettling when a closer look at the egg’s shell reveals it was broken by a bullet. Waking up, every day, to the carefully edited images and news reports is the way we gauge how the rest of the world exists. Reliance on corporations to transmit the truth suddenly seems naïve.

Empirical Emily Power manipulates the surface of wallpaper to include words beneath its pattern. Intermarried with the codes and regulations of the pre-made paper, the text looks towards linguistics and habit forming systems of communication, adopting a freeze-frame of gridded language to suggest an arresting of circumstances.

PRIVATE VIEW: SUNDAY 10th JULY 2005 6-9pm
Performance – 8pm Nicola Cunningham
Photography and Disc Jockeys in the Marie Lloyd bar, 8pm till late

OPEN DAILY 11th–14TH JULY 2005 5-9pm
Hackney Empire’s Exhibition Space
291 Mare Street
Hackney, London E8 1EJ

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Darren Almond’s work addresses the themes of time, geography and memory. He uses a wide range of media including film, photography and sculpture to explore the passing of time and the marks that it leaves on both social and private histories. He is shortlisted for his exhibition at K21, Kunstsammlung Nordrhein-Westfalen, Düsseldorf.

Gillian Carnegie explores the properties of painting. She works within the traditional genres of landscape, still life, the nude and portraiture, incorporating a wide variety of subjects and techniques to both celebrate and question the medium. She has been shortlisted for her solo exhibition at Cabinet, London.

Jim Lambie makes exuberant installations and sculptures which make reference to pop music and youth culture. He uses everyday materials including coloured tape and glitter to transform spaces and familiar objects. He is shortlisted for his exhibitions at Sadie Coles HQ, London and Anton Kern, New York.

StarlingSimon Starling transforms and reframes existing objects through a rigorous process of research. In his complex sculptural installations he creates poetic narratives by drawing together disparate cultural and historical references. He is shortlisted for his solo presentations at the Modern Institute, Glasgow and the Fundació Joan Miró, Barcelona.

Last year, Gordon’s increased the value of the Turner Prize to £40,000, with £25,000 being awarded to the winner and £5,000 each to the other shortlisted artists. The Prize, established in 1984, is awarded to a British artist under fifty for an outstanding exhibition or other presentation of their work in the twelve months preceding 11 May 2005. It is intended to promote public discussion of new developments in contemporary British art and is widely recognised as one of the most important and prestigious awards for the visual arts in Europe.Turner Prize Shortlist

Work by the shortlisted artists will be shown in an exhibition at Tate Britain beginning on 18 October 2005. The winner will be announced at Tate Britain on 5 December during a live broadcast by Channel 4.

The members of the Turner Prize 2005 jury are:
Louisa Buck, London Contemporary Art correspondent, The Art Newspaper; Kate Bush, Head of Art Galleries, Barbican Art Gallery; Caoimhin Mac Giolla Leith, art critic and Lecturer, Modern Irish Department, University College Dublin; Eckhard Schneider, Director, Kunsthaus Bregenz; Nicholas Serota, Director, Tate and Chairman of the Jury.

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A life-size mechanical elephant from Oswestry, trades union banners, snack shop signs, paintings on vans and hot pants from the Notting Hill Carnival can be seen in the gallery as part of a collection looking at the state of British creativity.

Turner Prize winner Jeremy Deller and artist Alan Kane are the masterminds behind the show, which tries to update what we understand as folk art. They have collected images from around the country which are not normally considered art, or shown in galleries.

Some of the works are rooted in the past such as Devon’s Tar Barrel Rolling celebrations or “Well Dressing” from Derbyshire. Others are entirely modern such as homemade web page designs or a collection of fake parking tickets which are left on the windows of unwelcome 4×4 vehicles.

The exhibition reflects Deller’s work as an ‘enabler’ and curator of other people’s work. His staging of a re-enactment of the Battle of Orgreave, the most dramatic conflict between miners and police during the miners’ strike in the 1980s, was one of his most celebrated works.
As an artist who freely accepts he can neither draw nor paint, Deller says his work is to document, enable and “re-direct the flow” of other people’s work. His main work in the year he won the Turner Prize was Memory Bucket, a video documentary of a trip through George Bush’s Texas.

Some of the pieces in the exhibition have appeared before, but much of it is new. It is a reappraisal of the “overlooked and undervalued” objects which have been created by people simply for the love of making something beautiful rather than making a profit.

The Barbican’s Contemporary Popular Art from the UK exhibition runs to 24 July.

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Dogwoof Digital in partnership with Tiscali, Genesis Cinema & Silverscreen is releasing Cottonopolis films production EMR simultaneously in cinemas, on the internet and on DVD after its London premiere on 15 July 2005.

Directed by James Erskine and Danny Mccullough and financed on a micro-budget, the film is a triumph of the spirit of Independent film making under adverse circumstances. Made for less than $100,000, the film was shot on the highest quality digital cameras available (High Definition), the very same cameras that George Lucas shot the latest Star Wars on. Moreover, the film makers were able to shoot the film in both the UK (London, Essex, Hampshire) and the USA (San Francisco, Los Angeles).

Whilst talk of simultaneous releases has been underway in the US recently, with Steven Soderbergh’s deal with 2929 Entertainment, this is the world’s first simultaneous release. As the release windows between cinematic releases and DVD releases have been narrowing, this pre-empts a logical move by the studios and bigger players. Not surprisingly the lead has come from the more flexible independent sector.

This release will collapse traditionally staggered release windows and gives consumers a choice for the first time, regarding how and when they want to see a film. The filmmakers believe that the choice as to how consumers view films should rest with the consumer and that theatrical, DVD and internet forms of distribution need not threaten each other, and may indeed be mutually complimentary.

Londoner Adam Jones (Adam Leese) is stuck in a dead end job; lives alone with his cat and spends his free time obsessing over the latest conspiracy theories on the internet. Taking an experimental drug for his epilepsy, manufactured by the Pfenal corporation, Adam begins suffering from seizures, black outs and terrifying visions. When he wakes up in a hotel room in Mexico missing a kidney, Adam becomes convinced that he’s unwittingly stumbled into the middle of a conspiracy. Drugged by mysterious paramedics (Gil Belows), Adam finds himself back in his London flat. Just as he assumes it’s just been a bad dream, the pain of a scar on his back serves to convince him that something dark and disturbing is indeed happening.

Worse still, Adam’s one friend at work, Tracey (Jemma Walker), informs him that he’s been missing from work for a week and as a result he’s been fired. He turns to his doctor (Lara Cazalet), but she seems to be overly zealous in prescribing the drug company’s medication. His only confidant is his beautiful and mysterious internet correspondent, whom he knows only by her screen name CyberBunnyLily (Whitney Cummings) and who lives in San Francisco. With his reality becoming more and more fractured, and unable to trust anyone, let alone himself, Adam sets about trying to uncover the truth about the mysterious drug company Pfenal. The transatlantic connection seems ever more prominent in solving the mystery. Will he escape his torment and be united with his beloved Lily, and if so, at what cost?

Just as he finally feels that he is able to rid himself of the ordeal of his medication, Adam finds himself confronted by two of the drug company’s agents (Guy Henry, George Calil). And the reality of his situation turns out to be worse than his wildest conspiratorial nightmares. Raindance was the first public screening of the completed EMR and the film won the Jury Prize for Best UK Feature 2004. Previously it was shown as a work in progress at the Washington DC Independent Film Festival where it won the Audience Award for Best Film. It has also screened at the San Francisco Independent Film Festival and at Germany’s cult ‘Weekend of Fear Festival’ where it won the Golden Glibb (Best Feature). Moreover, EMR was official selection at Jeonju Film Festival 2005, Korea; San Francisco Independent Film Festival 2005; and Dead Centre Film Festival, Oklahoma. The cast of EMR features some of the hottest emerging British acting talent. In his breakthrough role, Adam Leese stars as Adam Jones, supported by an Anglo-American cast.

British actors include Guy Henry, George Calil, Tom Hardy, Ross McCall. As well as debut film roles for Jeremy Edwards and Eastenders star Jemma Walker.

American actors include Gil Bellows, star of Ally McBeal and The Agency, Kevin Christy, Anthony Azzizi and Whitney Cummings. The film was produced by John Lentaigne, Erskine and McCullough and George Calil. Original screenplay by James Erskine and Danny McCullough. Directed by Erskine & McCullough and Director of photography John Halliday.

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