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Episode 5: 6 Exhibitions to See in London Autumn 2023
69 Plays1 year ago
Vyki and Catherine are back to share their six favourite exhibitions in London Autumn 2023. Did Frans Hals ever paint a frowning face or Rubens ever depict women with their clothes on? Will you see Marina Abramović’s face too often in her eponymous exhibition at the Royal Academy? Discover glittery fabulous Treasures of Gold and Silver Wire in the City of London and a very different beauty made by El Anatsui from disused bottle tops in Tate Modern’s Turbine Hall. Hear about the lyrical journey Julian Knxx’s films take you on at Barbican Curve and the show we couldn’t wait to open at Kew Gardens.
Mentioned in this Episode:
● Frans Halls at the National Gallery
● Marina Abramović at the Royal Academy
● Treasures of Gold and Silver Wire at the Guildhall Art Gallery
● El Anatsui: Behind the Red Moon at Tate Modern
● Rubens & Women at Dulwich Picture Gallery
● Julian Knxx: Chorus in a Rememory of Flight at the Barbican Curve
● Mat Collishaw: Petrichor at the Shirley Sherwood Gallery of Botanical Art, Kew Gardens
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● Positive Hip-Hop by MaxKoMusic from Chosic
Resources
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Transcript
Introduction to the Exhibitionist Podcast
00:00:08
Speaker
Welcome to the Exhibitionist Podcast. I'm Catherine from Cultural Wednesday. And I'm Vicky from Museum Mum. Together, we're your co-hosts on this friendly Insider's Guide to the best exhibitions, museums, historic places to visit in London and beyond. Between us, we visit hundreds of cultural places a year. We're here to share what we've seen, so you know what's worth the travel. Get ready to fuel your curiosity and wanderlust with the Exhibitionists.
Catherine's Covid Experience
00:00:39
Speaker
Hey, Catherine, how are you doing? I'm very well. Well, I'm not very well, actually. I've had Covid. I still have Covid. I've been asleep for many, many days this week. You're lucky I'm awake. I am very lucky. Am I right? Is this your first bout? It is my first bout, yes. So I've done well to avoid so far. Yeah, possibly the last person in the UK.
00:01:06
Speaker
I know that would be Mr CW who is upstairs cowering in his study hoping not to get it, especially as he has a business trip in 10 days time. And how has it bitten you badly? How have you been? I've been absolutely knocked sideways. I've never been this ill for this long ever in my entire life. Oh, I'm sorry to hear that.
00:01:31
Speaker
But I've been asleep, so it's not been, you know, I've not been in pain or anything. I've just been not present.
00:01:37
Speaker
Oh, well, it's good to see you on the screen and also hear your voice. How are you? Yeah, yeah, I'm all right, actually. You always ask me this question and I always go blank when people ask me how I am. But no, I'm very good. It's obviously a really exciting time for culture at the moment. There's just so much opening and it's been nice to get the kids back to school and in a routine and to be able to start getting out there and seeing more shows and things. So yeah, I'm in a good mood. Excellent.
00:02:07
Speaker
Shall we start to talk about the exhibitions that we want to see, have seen this autumn? I mean, that's the thing, because we said, let's do our favourite shows. And first of all, there is just so much to see. Secondly, there's a lot of fashion shows. And I think we should start by saying we think we're going to do a whole episode about London's best fashion shows. So if we don't mention one of your favourite fashion shows, tune into that one, because hopefully you'll hear it discussed then.
00:02:34
Speaker
And there's still more opening so I think this is a really emerging list of what we've really seen and what we've enjoyed and what we've thought about it and I'm quite excited to hear, compare notes basically. Which is the first show you'd like to suggest? My absolute
Frans Hals Exhibition Discussion
00:02:48
Speaker
favourite is Frans Hals at the National Gallery. It's just, it's magnificent and it's fun. So Frans Hals
00:03:01
Speaker
painted around 400 years ago in the Netherlands. He only painted portraits and you have rooms filled with 50 portraits or 50 paintings of people and everybody's laughing. Absolutely everybody is laughing. You feel that when the gallery is empty and everybody's gone home that the people are going to step out and they're having
00:03:28
Speaker
the most outrageous party every night. It's joyous, absolutely joyous. Have you seen it? Yes, I did get to see this one. And I'll be honest, I was, I wouldn't call myself a kind of old masters kind of person, but I love a good exhibition. So I went in, I think I'll give it a go. And I came out really elated, actually, I thought it was I think it's a fantastic show, even if you wouldn't naturally
00:03:55
Speaker
gravitate towards that kind of work. I mean, first of all, the people, like you said, you know, even if they're a bit grumpy, they've got so much personality to them. They feel like people that you could bump into or pass in the streets. I mean, maybe with less ruffs and moustaches, depending on which part of London. I want those for us. In the shop, they are selling not ruffs, but collars, frilled collars.
00:04:21
Speaker
Do not think that I have not been googling how to make a frilled corner.
00:04:27
Speaker
I can see you in some of those. I thought they were brilliant because they were the first thing that you saw when you came out. So yes, even though they're dressed very differently to today, then they just had such character and warmth to them that I really, really enjoyed them. But also what I found really, because a lot of shows you go to, you learn more about the artist and things like that, and it's about kind of putting their work into that context. But with him, it doesn't, they don't really know anything about him, do they? Like the first room is like,
00:04:57
Speaker
It could almost be his last room. There's no, you don't see like a sort of starter. He's a bit of a mystery, isn't he? Yeah, no, absolutely. And I think that that's sort of, he's almost there as a sort of a chuckling presence in the background. And also these were, a lot of these were formal portraits, you know, they're things for people to be handed down the generations and to show and the fact that he still managed to embark, you know,
00:05:21
Speaker
sort of give warmth and personality to these people. Absolutely. There's one that's the gathering of the guild of St George, I think. It's the first time it's ever travelled out of Harlem. And so, a very formal gathering of men doing a serious job.
00:05:42
Speaker
And they're all, they're chatting and they're smiling and yeah. Is this the one with the upturned glass and there's oysters being consumed and they're kind of clicking their fingers? This is great. This is it because I think it's the composition as a group portrait. It's almost in some ways, they remind me of photography, you know, in terms of, because obviously capturing a smile in a painting is a very hard thing to do because it's quite easy to make a smile like a grimace.
00:06:11
Speaker
Yeah, sort of smirk. Yeah, exactly. And he never does that. He always kind of gets it right. But so yeah, this kind of group portrait, which you would imagine would be men sat around a table, you know, carrying chains of office or whatever it is they do. They're just having a really nice night out by the way it looks. Yeah, no, absolutely. It all just looks so fun. At one point, there's a portrait of a man and he's holding his fur trimmed glove up to you as if to go, look at my glove.
00:06:40
Speaker
And that's the thing. And I think also, so the clothing obviously is quite important, but also the way that he paints these, I think is really, really interesting. So apparently he, in his lifetime, he was very well renowned and obviously esteemed and commissioned for lots of work, although by the end that style was going out.
00:07:01
Speaker
But he's very much rediscovered in the 19th century by impressionists. And you can kind of see why, because the brushwork in it is like amazing. Like the way that he just suggests all of this detail in these rafts and the gloves and the embroidery.
00:07:16
Speaker
and then you get up close and it's just like, he's literally just splattered a few bits on and it's quite magical. No, absolutely. It's incredible. I must say, after it's been in London, it's going to go on tour to Amsterdam and Berlin, so you can follow it around. But it is. It's at the National Gallery. It's on until January the 23rd, so you've got quite a long time and it costs £20.
00:07:40
Speaker
Oh and also what's worth mentioning about that one is it's half price for National Art Pass holders but on a Friday anyone can pay what you can and that's 5.30 till 9.30 I just go online and book it a minimum of a pound so if money is an issue and you know you want to see the show just go on the Friday evening and you just pay what you can afford.
Marina Abramovich Retrospective Introduction
00:08:01
Speaker
I was going to propose as my favourite the Marina Abramovich at the Royal Academy. For those who've not heard of her, she's possibly, well, she is the world's most famous living performance artist. She's a Serbian artist, has been working for 50 years. And so her name is quite famous. So it was it was really good to see basically like a retrospective really of the 50 years of her work. And one of the things I found surprising was that this is actually the first time that
00:08:30
Speaker
the Royal Academy has had a solo exhibition dedicated to a female artist in its historic galleries ever, which in 2023, it's just like, wow. So in terms of its significance, I think that's one thing to note the first time they've done it. And actually, I really liked seeing it in that space as well. I thought the space really added to the drama. The space was fantastic. And because so much of it is video to have captured the performance.
00:08:59
Speaker
you're in quite sort of gloomy rooms, it's very, very theatrical. Very theatrical and I think that really works. So I mean, what I liked about it, I think, so you go in, you walk through this room, which is the artist's presence, there's pictures of Marina's face and then pictures of all of them, many people in New York who queued up just to sort of sit opposite her and stare at her.
00:09:20
Speaker
But what I really liked is when you went through that and you went into the room where it was one of her earliest works, which was where she had a table of sort of 30 or so objects from pleasure to pain. So there was cake and kind of feathers and then through to knives and guns. And when she performed this work, she had a little disclaimer, you can do anything. So the idea was she didn't even know what would happen. And
00:09:47
Speaker
you've got then videos of what was happening. So there were people getting her to hold a gun up to her head, people cutting her. And it was really, really powerful. I was really shocked. And for me, that really sums up a lot of what her work is about. And actually, the fact that it came across in a gallery space, I think, without it being performed was quite amazing. So bits of it I found really emotive, especially about her earlier work, which was exploring really the
00:10:18
Speaker
the limits of the human endurance and very much using her body as the piece, as the vessel. Are you very, very aware of Marina Abramovich's body from beginning to end? Yes, definitely. I know you've got opinions on this. I thought the room with the giant screens that you could weave through, which were above life-size close-ups of her face and her and Uli doing pieces together,
00:10:45
Speaker
So Uli was her partner for a number of years. It was really intense as well because it was really overwhelming. So I really enjoyed those. Maybe I should ask you what you thought about it.
00:10:56
Speaker
I enjoyed it and I enjoyed the theatricality of it and everything, but by the end, I was overwhelmed by Marina Abramovich's extremely attractive face, which had been in my face but 10 times life-size for a long time. At the end, I was quite pleased to step away from her.
00:11:20
Speaker
Well, this was quite interesting. There was one bit of text on the wall, and I can't find it to find exactly what it said, but it said about something about her not being traditionally attractive. I'm just like, are we looking at the same woman here? Yeah, no, that's exactly what I thought. I thought, who, who, who are you kidding? Yeah, so yeah, but I, yeah, I thought, I don't think that bothered me because I think that her work
00:11:41
Speaker
like I said, it was so bodily, it wasn't to do with like, necessarily her kind of attractiveness and the things that she did. I think what is interesting, though, is to go to your point is how much of the work works without her
00:11:55
Speaker
because it's very much her and her life and her performances. And now obviously she's still around, but she's performing less and that things that she's now got an institute and she teaches people her methods. So if you visit at certain times through the exhibition, there'll be live re-performances of some of her most famous works. Yes. Did you walk through the naked people? The naked people weren't there. The naked people were there when I was there, but
00:12:24
Speaker
And so essentially, you've got these two, you've got a naked man and a naked woman, and they are facing each other in a doorway. And in order to go from one gallery to the next, you need to walk through the extremely narrow gap between the naked man and the naked woman. Therefore, eyeballing either the man or the woman, whichever you're choosing to waft your bottom up against the other's genitals.
00:12:52
Speaker
I chose not to, because I also had a huge bag that day. I had my laptop, I'm going to say it's what in it. And I couldn't see how I was going to go through without, yeah, basically without hitting one of the people. So I chose to walk round the side like a coward.
00:13:16
Speaker
Well, this is quite interesting. So it's imponderability, I think is the name of the work. And when it was first performed, it was her and Oolai. And you had to walk through it. There was another way. And she's re-performed it since. And again, there's never been. So this is the first time she's given, as you call it, the cowards doorway, where you can walk around. But no, because their performance is... One tip I would give is if you're visiting,
00:13:38
Speaker
is the first thing I did is go to a room guard and ask them what time are the performances and where are they? Because you can look online, but I promise you, by the time you're getting there, you'll forget. So when I got there, they said, oh, these two are happening and they're happening now and this is when they finish. So I actually rushed those two and captured them and then came back, but they didn't have impongibility. So I'm going to go back just to squeeze through some naked people.
00:14:03
Speaker
Yes, well they say that you never see the same exhibition twice because there are different performances going on all the way through, so you never know which one. It's extremely unlikely that you're going to see exactly the same performance and because it's a live performance it will be different. So it is an exhibition which does bear visiting over and over again, which is great if you've got RA membership but it's otherwise quite pricey.
00:14:31
Speaker
Yes, definitely. It is one. But I think if you can revisit, like you said, you'd expect. So at the moment, they've got the work ongoing where it's recreated when she lived in a
00:14:43
Speaker
in a space for 12 days. And it said how long she was allowed to sleep for, how often she should go to toilet when she should shower. So they've got three artists doing that. So I do want to go back and see that work. I think it is quite interesting seeing them re-performed because it's whether they still keep that intensity or whether the reason that those works were powerful was because it was her and it was part of that journey. Yeah, and it was new.
00:15:12
Speaker
And it was new, exactly. So for example, when I was there, I saw there was a woman, and they're naked, by the way, all of these people are naked. Obviously. Obviously. So if you're bringing, I wouldn't say this was an exhibition for children in particular, you know, and, or even if you had teens who were a bit funny about nudity, you know, could be a bit, you know,
00:15:34
Speaker
Your mum and you take your teen son, he might not want to stand and watch like a naked woman in front of you. Or brush her a gate created by two naked people. Exactly. So I think it's great to see those works in that space and to think about her work and her legacy and also performance art as well, because there's been such a turn away for it over the decades. And the fact that she's, you know, that has been her work and her calling and she stuck through that through time.
00:16:01
Speaker
Yes. So I would say I really enjoyed this. Okay, well if you want to go see it, it is on at the Royal Academy until January the 1st and tickets are £25.50 for an adult and the Art Fund will get you in half price. Okay,
Gold and Silver Wire Drawers Exhibition Exploration
00:16:19
Speaker
so which one shall we go for next?
00:16:22
Speaker
Oh, I think that next it's one that you and I differ on, shall we say. It's Treasures of Gold and Silver Wire at the Guildhall Art Gallery. I loved this.
00:16:34
Speaker
Tell me what you loved about it, Catherine. I will too. What it is, is this year is the 400th anniversary of the worshipful company of gold and silver wire drawers. And this is an exhibition of the best that they've produced in that 400 years, really.
00:16:53
Speaker
It's a lot of embroidery and textiles. I love embroidery and I love textiles. There is the only surviving garment worn by Queen Elizabeth I. There are
00:17:14
Speaker
beef-eater uniforms. There are bits that hang down from trumpets that are embroidered in immaculate, incredible 3D gold detail. There is the present cope of the Bishop of London
00:17:38
Speaker
so he's the bishop of St Paul's essentially and it's embroidered with all the city churches in gold and it's still used, he's currently used, he wears it for high days and holidays. It's I think absolutely incredible work. If you are interested in the craft of embroidery and weaving it's just amazing.
00:18:07
Speaker
No, so I went to see this and the reason I'm glad I saw it, I thought the objects were amazing. Like you said, there's so much history as well as the items that you've mentioned. There's also Charles Dickens first, only remaining suit. I think his court dress.
00:18:27
Speaker
his court dress sorry yes sorry use the correct terms wiki but then also you've got if you're into film they've got outfits from the crown the first i think it's the first series of crown possibly yes it is because it's her because it's her coronation dress yeah exactly i mean that they've got the ballet outfit as well by the starcy um
00:18:50
Speaker
So it's got the film and then it's got contemporary jewellery as well. That's what wire is used for now most of all is to make the jewellery. Yeah so I loved it as a kind and also they have bits about how it's made at the start as well the technicality of how it's drawn and things
00:19:05
Speaker
So I really, really liked what was in there. And if you like history and British history or you like sewing or anything to do with textile, I think you'd love it. What I struggled with was I just thought the presentation really did not match the standard at all. It felt quite amateurish in terms of the way that it was put together and that sort of thing, which was a shame. I think it just kind of
00:19:32
Speaker
Yeah, I think that let it down, which was a shame because the object's incredible. The stories are great. It just as an exhibition, I think it was just slightly lacking, which is why I'm a little bit on the fence about it. Yes, yeah. On the other hand, it is only 10 pounds. It's on until the 12th of November. And you're also then into the Guildhall Art Gallery and you can go and see the Roman amphitheatre underneath it.
00:20:02
Speaker
Yeah, absolutely. Lots of reasons to go and see it. There's lots of reasons. And they're running family activities. I think it's the second Saturdays. They do activities every month. And this one, for example, is going to be themed on gold and silver. So that's another good excuse to go if you want to go with kids. And I think it's also half price for National Art Pass holders as well. Yes, I think it is. Yes.
00:20:28
Speaker
So yes, and then, I mean, this is why I think this is quite an interesting conversation because sometimes we're like, yeah, these are our six, we know. And this one, it's still emerging. There's still loads to see. And also, you've been ill, I've been working. So I think we're going to start comparing notes on maybe things that we haven't had the chance yet to see. Yes. So what's next on your list?
00:20:51
Speaker
Oh,
El Anatsui's Installation Discussion
00:20:52
Speaker
I was going to tell you about the El Anatsui at the Tate Modern, which I saw yesterday. So this is the new Turbine Hall installation. I was going to go and see this on Monday, but was asleep, so didn't. But I saw them setting it up last week, so I've seen a little bit. Well, it's called Behind the Red Moon.
00:21:20
Speaker
The Turban Hall installation, it's a huge honor to get it. It's an annual special commission by an artist to fill this enormous cathedral-like industrial space. And I think it's always something you should see.
00:21:35
Speaker
Every year it's free, you get to see, maybe an artist you don't know about, and also just the scale of it is such an important commission. Everyone's always got their favourites and people will always say, oh, I prefer this year, but I think you should always go see it for yourself. I just popped in yesterday with not very high expectations, and I was actually blown away by one particular part in particular.
00:22:00
Speaker
So El Anatsui, he's a Nigerian artist who works with recycled material, basically metal bottle tops and other parts of metal to create these kind of almost 3D. Yeah, like sometimes you see them more on the wall as like canvas and they're very abstract and that sort of thing. So he's used these material to create three works. He's called them three acts.
00:22:28
Speaker
within the turbine hall space. So as you go down the ramp, the first one you see is a giant red and yellow sail, which is almost like it's been almost billowing towards you.
00:22:40
Speaker
he says this is because the space really reminds him of a ship. And his work, part of the reason that he uses these materials, a lot of them are alcohol bottle tops, is because of the relationship with alcohol and the history of the transatlantic slave trade. So, you know, the people, you know, were transported and then
00:23:02
Speaker
produced sugar, which was then made alcohol and then brought to the UK and then brought back to Africa. So it's this kind of legacy of the transatlantic slave trade, this triangle. And when he makes them and the ship, obviously, and that significance in that. So but when you walk in, it's quite high. And what I like about the works is they are beautiful, they're abstract, but they've got such detail in them as well.
00:23:26
Speaker
The second part is called The World, which is this kind of fragments. And to be honest, I didn't really see it. It's something that you might need to spend a bit of time. I think you need to go up to the bridge that goes over. I've seen on Instagram, so it's almost as good as seeing it in real life. To be honest, you've probably got the better view. You walk across the bridge and at some point you align and you see
00:23:51
Speaker
the Red Moon, which, yeah, I did not, or the world, potentially. I think it is the world. It is the world. Okay, so you see the world. But I just did not see it at all. So do spend the time trying to find that viewing pose. But the one which really hit me, it's called The Wall, and it's at the very end. And it is literally ceiling to floor and then some monumental black
00:24:19
Speaker
work. And it's just absolutely stunning. First of all, the size and the scale of it, it just dwarfs you. But also the wave, when it hits the floor, it's almost like a wave or, you know, kind of some mountainous scene. And it's so tactile. Currently, you can get right up next to it.
00:24:37
Speaker
And it is so tempting. I did see people come up and kind of shake it next to me because they couldn't quite believe what it was made of. And you can really inspect all of the letters and the detail of these bottles. And each one is then hand stitched with copper wire together. And it's like the biggest sequin work you've ever seen. So talk about detail and craft and workmanship is just amazing. And then when you go around the back,
00:25:04
Speaker
then suddenly it's the silver lace delicate piece, which has got giant like, you know, sort of holes, like a lacy structure almost like a honeycomb, and it's almost see through from the back. So suddenly you get a completely different, it's absolutely beautiful. Like I said, really quite humbling.
00:25:26
Speaker
And again, it refers to water and the importance of water in this story that he's trying to tell, but also it relates to a mythical African king who built a wall to try and, you know, subjugate his people, and then that was destroyed. So there's kind of... It never goes well, the building of walls, doesn't it?
00:25:51
Speaker
Yeah, Build a Wall is, you know, yeah. So anyway, I loved it. I stared at it in quite some detail for quite some time. And you've got loads of time to go and see it. So it's on until the 14th of April, 2024, and it's free. Let's move off
Rubens and Women Exhibition Analysis
00:26:11
Speaker
down to South London, down to Dulwich, and Rubens and Women at the Dulwich Gallery. I really want to see this. Please tell me more.
00:26:21
Speaker
It is essentially, it's 40 paintings by Rubens of women. But when you say the term Rubenesque means slightly, should we say rounded, a rounded lady, I think it says is how Rubenesque is interpreted. You're seeing women that he painted who are either patrons and so therefore they are wealthy and he paints
00:26:51
Speaker
his patroness' paintings, they are powerful, powerful, beautiful women dressed in full finery, not a Rubinesque fold anyway. He paints his wife or his wives and his daughter, and they're just tender, tender depictions of people who he loves. His first wife dies, and then
00:27:21
Speaker
he's single for a long time, then he remarries a much younger woman and he suddenly starts painting. He's got his mojo back and he paints her massively. He's plainly besotted with her and she's depicted as the Virgin Mary, various saints. She's always beautiful, but she's also very powerful in her depiction.
00:27:51
Speaker
Yeah, I think it's just an amazing exhibition. So it kind of smashed some of those ideas about what Ruben-esque meant then. Did you have the traditional Ruben-esque paintings there as well? Not so much, really. No, no. There weren't the reclining nudes. I mean, obviously, there were some reclining nudes. Rubens of Women is on at the Dulwich Picture Gallery until the 28th of January and costs £16.50, but that also includes entry into the main collection.
00:28:21
Speaker
And this is where I think we were like, what's going to be our number six? And so maybe we could just quickly talk about some of the ones that are in the running. And maybe our listeners can decide for themselves what's the sixth one they want to see. Yes. I'm going to throw in Julian Knox, which is Chorus in Remembery of Flight, which is at the Curve Gallery at the Barbican. This just really surprised me. It's kind of
00:28:45
Speaker
film meets performance poetry and it's his look, he goes on a journey throughout Europe to meet people of colour and explore what their blackness means to them and he creates, but he weaves them all to get some of them are poets, some of them are dancers, choirs, he meets quite a few choirs and it's all woven together with this beautiful refrain of we are what's left of us
00:29:10
Speaker
And it's just got a mixture of humour and joy, but also, you know, challenge. And, but it's very lyrical, it's very poetic, and it's free. So I would, if you are in the area, I would say, go look at it. You can apparently watch them online, but the way that it is in the space works really, really well. It's a very beautiful space.
00:29:32
Speaker
Yes it is and they've really given it space in itself. They haven't crammed too much work in and it's on three schemes. It's like a video triptych and there's plenty of space to sit and just take in this work and like I said I had no expectations with that and really enjoyed that and that's on until the 11th of February 2024 and it's free. But you do need to set aside quite a chunk of time. I think that the full length of video if you're going to watch it is about one and a quarter hours I think
00:30:02
Speaker
And what else would you throw in the mix for number six? I really liked Mother and the Weaver at the Foundling Museum, which is its work from the collection of Ursula Hauser. And Ursula Hauser is one half of Hauser and Wirth, the contemporary art gallery. So her collection is very contemporary. Everything that's been selected is about women.
00:30:30
Speaker
and mothers and children. It's not only confined into the basement gallery where the Foundling collections, special exhibitions usually are. It goes from the basement right up to the very tip. So it interacts with the story of the Foundling Museum and of the collection, which was founded by Hogarth to actually support the work of
00:31:00
Speaker
the Foundling Hospital. I saw this yesterday and I really liked the use of space like you said and the fact that it started to interact. I mean it was really nice finding the spider inside the historic room which had been moved from the original one. I thought that piece in particular was a real surprise and delight.
00:31:21
Speaker
There were lots and lots and lots of spiders, lots and lots of Louise Bourgeois, is that a pronounceer? Spiders everywhere. And that costs £10.50 but you get entrance to the whole museum and it is free if you're an art fun card holder because I saw it for free with my art fun card. What's next?
00:31:40
Speaker
Oh, actually, one that I really, really, really, really want to see but hasn't opened yet, and I will be away for its opening, but we'll see it, is Matt Colishaw Petrichor at Kew.
00:31:55
Speaker
I am so excited about this one. I love his work. It's just so imaginative and surprising. And yeah, and yeah, I think he's got one of his zero tropes. Is that what they're called? You know, it's been spinny. So he does these works where they're scenes, which when he spins them really fast, they animate themselves. And I think he has one of those, which I absolutely love. So I am so excited. I'm going to the preview, so I will tell you all about it. Katherine, next time I see you.
00:32:24
Speaker
Looking forward to that. That will be included with the £17 entry into Kew Gardens and can be found in the Shirley Sherwood Gallery. Is that it? I think that's it. We've seen a lot more, but I feel that, you know, we've reached our time and there's more episodes to come. Absolutely. So there you have our selection of exhibitions that are on currently in London.
Podcast Wrap-Up and Listener Engagement
00:32:51
Speaker
We hope you've enjoyed this episode of The Exhibitionist. We've loved sharing our thoughts with you. Thanks so much for listening. If you've enjoyed this show, please hit the subscribe button and leave us a review. Let us know what's on top of your visit wish list. You can find us on Instagram at The Exhibitionist Pod. Or me, Katherine, at Cultural Wednesday. Or me, Vicki, at Museum Mum. Music is positive hip hop by Maxco Music from Tuzik.
00:33:17
Speaker
Catch you next time on the exhibitionists. Until then, stay curious and enjoy those cultural adventures.