Brighton Bier unveils a new beer to support a local conservation campaign

On 8 January, I started a new job at GlobalDataplc’s Verdict sites which are B2B publications each focusing on a particular industry. I am working on the Drinks publication – Verdict Drinks.

I have a written a few pieces already about the industry but I am most proud of this one since I got in contact with Brighton and Hove City Council in order to get an original quote and it is the first time I have ever done anything like that. In previous jobs, I had asked for quotes through a PR company, but never directly with the subject of an article!

Here is the piece:

Brighton Bier unveils a new beer to support a local conservation campaign

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Photo credit: Brighton and Hove City Council

Craft Brewery Brighton Bier has launched a new beer in the UK to raise funds to restore the Madeira Terrace arches that overlook Brighton’s Eastern seafront.

Named Mabeira, a quarter of the profits from sales of this beer will be donated to the Save Madeira Terrace Campaign, a crowdfunding drive organised by Brighton and Hove City Council.

Mabeira is a 4% ABV pale ale made with US hop variety Centennial and an experimental hop named HBC431, bred by the Hop Brewing Company. It has been fermented with a mixture of English ale yeast and a West Coast US strain. It will be launched on 2 February in keg and can form at Brighton Bierhaus, the brewery’s bar, after which it will be rolled out across Brighton.

The Save Madeira Terrace Campaign was initiated in July 2017 following an unsuccessful £4m government funding bid. In November 2017, the campaign exceeded its target of £400,000, with donations totalling £463,446 when the crowdfunding page closed at the beginning of December. The leader of Brighton and Hove City Council Warren Morgan expressed his “delight, relief and gratitude” to the 2,162 people and organisation who donated.

Madeira Terrace is an 850-metre long Grade II-listed Victorian promenade comprised of 151 arches built in 1890 and extended in the 1920s. Due to its location so close to the sea it has undergone a lot of damage over the years.

The money raised will be used to renovate three of Madeira Terrace’s arches. Preparatory work is to begin later this month and construction is scheduled to begin in the summer of 2018 with the project aiming to be completed by December 2018. The renovation is part of the Lockwood Project, named after the original developer of Madeira Terrace, and thus the designs will be sensitive to the structure’s heritage.

The ultimate aim is for all 151 of the arches to be refurbished and for Madeira Terrace to become a new cultural hub for Brighton, featuring restaurants, bars and shops. Its location off Madeira Drive, a popular area among locals, will aid its success in this respect.

Councillor Morgan elaborated on the next stage for Terrace, saying: “We’re working on an application to the Heritage Lottery fund and in response to people who are still asking if they can make a donation, we’re setting up a Madeira Terrace Restoration Fund. There are also plans for another community raffle, that last time attracted over 600 prizes given by local businesses and saw residents raise over £16,000”. The money raised from the buying of Mabeira beer will be donated to this restoration fund.

Gary Sillence, Brighton Bier founder and brewer explained Brighton Bier’s decision to get involved in the campaign to save Madeira Terrace, saying: “We would love to one day be brewing Brighton Bier on Brighton beach as part of a restored and revitalised Madeira Terrace seafront area, and realised we could help immediately by brewing a beer specifically for the restoration campaign.”

Councillor Morgan added: “This latest idea will help to keep the ongoing campaign in the public eye and is a great example of how businesses can get involved. Buying Mabiera not only supports the campaign but puts money back into the local economy by supporting local businesses and local jobs so it’s a win-win all round.”

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Relaxing and unwinding at the newly renovated Buergenstock resort, Lake Lucerne

In early December, I went on a press trip to the Buergenstock resort for glass magazine – here is my review:

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Loving life at The Buergenstock

PERCHING on top of the Buergenberg mountain with a phenomenal, unique vista over Lake Lucerne, the  Buergenstock Resort has just been reopened. The resort has a rich history – it originally opened in the late 19th century and attracted Hollywood’s biggest stars, including Audrey Hepburn and Sophia Loren, in the mid-20th century. The resort’s panorama over Lake Lucerne and the amazing history associated with the location was the inspiration behind the MKV Design’s renovation of the resort.

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View of the funicular railway up to the resort

The renovated Buergenstock resort encompasses four hotels – the Buergenstock hotel, The Palace Hotel, The Waldhotel and the Taverne 1879 – as well as a collection of large, luxurious apartments. MKV Designs have also extended and updated the resort’s alpine spa. The Buergenstock hotel is where guests arrive into the resort via a funicular railway. The funicular was a feature of the original resort — it has been updated and restored as part of MKV Design’s project.

Getting the funicular up to the resort, after cruising across Lake Lucerne, added a genuinely unique aspect from the average airport-hotel transfer slog. Unfortunately when we took the funicular the resort was engrossed by a sea of fog, but after seeing the views from the hotel at top of the mountain once the fog had cleared, it is easy to imagine quite how stunning the views would be as you ascend in the funicular.

In keeping with the designers’ desire to emphasise the unique surroundings of the Buergenstock resort, local stone and wood were used in the construction of hotel and every guest room and public area has enormous, full length triple glazed windows. As soon as you walk into your room the view is the first thing that strikes you – having that scenery really makes the display of artwork unnecessary. I thought that the the inclusion of a window seat into the room design was ingenious. It was delightful to laze there getting cosy with such a gorgeous scene to accompany you.

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My room at The Buergenstock hotel
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View from my room, featuring the window seat 

For me, the most outstanding feature of the guest rooms in the Buergenstock hotel is the bath, which, like the main bedroom area itself, has a full length window looking out over Lake Lucerne. My immediate reaction to realising my bathroom had a full-length window was self-consciousness – how was I supposed to relax in the bath when I am so exposed as the huge window has no curtains? However, due to the design of the hotel, all of the rooms face out towards the Lake and thus do not overlook any other rooms. This means the bathing experience at the Buergenstock is not only unique but the most relaxing I have ever experienced.

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Amazing bathroom in my guest room at The Buergenstock
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View from my bath

The Palace Hotel, which had to retain its original façade and the columns in the ballroom due to being a listed building, shares the Buergenstock lobby. The corridor that links them documents the history of the resort in both English and Swiss German featuring original photographs, advertising posters, as well as furniture from the hotel’s storerooms. To continue the homage to the history of the resort, the wallpaper in the corridors of the Palace hotel have been designed based on newspaper cuttings and early photographs of the resort —  a lovely touch. All of the guests rooms in the Palace hotel have been modernised and redesigned and feature a balcony with either a mountain or a lake view.

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Newspaper cutting wallpaper
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Exterior of the Palace Hotel 

During our trip, we were treated to incredible food at the resort’s restaurants. My favourite in terms of both design and cuisine was the Ritzcoffier restaurant. The restaurant hosts a breakfast buffet with pastries, bread, cereals and some hot food on the original 19th-century stove from the hotel’s kitchen, as well as cooking fresh eggs and making fresh coffee.

The Buergenstock resort is stunning yet understated due to the focus on the unique scenery towards the Swiss Alps and across Lake Lucerne. The amazing service offered by all of the staff completes the serene feel of Buergenstock.

by Allie Nawrat 

The Buergenstock resort, CH-6363 Obbürgen, Switzerland

Room rates at the Buergenstock resort begin at £450 and can be booked here

My review of Red Star over Russia exhibition at the Tate Modern

At the end of November, I went to see the Red Star over Russia exhibition for Glass Magazine with my aunt – I loved the exhibition, even if it was a little bit short.

Here is my piece for glass:

THE Tate Modern has marked the centenary of the Russian revolution with Red Star over Russia: A Revolution in Visual Culture, 1905-1955. The exhibition is based on the extensive collection of David King, a graphic designer who recently passed away, and includes 250 posters, photographs, paintings, books and ephemera from 1905 until 1953.  The exhibition is organised to document the visual history of Russia and the USSR starting with the revolution of 1905 and ending two years after Stalin’s death in 1953 when Khrushchev implemented the thaw and gradual liberalisation in the USSR. It aims to reveal how political upheavals that caused social transformation triggered innovation in the Soviet art world.

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Nina Vatolina, Don’t Chatter! Gossiping Borders on Treason (1941)
Lithograph on paper, 604 x 444mm. Purchased 2016. The David King Collection at Tate.

Since this year marks the centenary of the Russian Revolutions, many London galleries and museums have exhibitions documenting this event. Glass was very impressed, and pleased, that many of the photographs and posters in this show at Tate Modern I had never seen before. This exhibition certainly had something to offer those keen to learn more than the basics about the Russian revolution.

Additionally, I loved how much detail was provided about the personal lives of the artists featured. It was the norm for these artists working in the Soviet era to be almost anonymous, so it was fascinating to learn about their individual personal stories and what influenced their artistic creations – beyond a simple desire to stay alive and please the Soviet state. This exhibition showed how each propaganda poster is different since, although each one represents similar political messages, each artist has placed their own creative, stylistic stamp on their work.

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 Nina Vatolina, ‘Fascism – The most evil enemy of women’ Soviet poster. The David King Collection at Tate.

The most interesting room in the exhibition, in my opinion, was the penultimate one which presented doctored photographs that attempted to rewrite the history of the USSR under Stalin. The most well-known example of this are some photos where Trotsky and other purged senior Soviet politicians were gradually eliminated from photos in an attempt by the Stalinist regime to remove these so-called enemies of the state from history. It is clear how hard David King worked to collect the original images that included the disgraced politicians in order to prove just how paranoid Stalin’s regime became about sedition or overthrow. Another example is the addition of a red Soviet flag to an image of the liberation of Berlin from the Nazi’s in 1945.

by Allie Nawrat 

Red Star over Russia: A Revolution in Visual Culture, 1905-55 is open until February 18, 2017

Tate Modern, Bankside, London, SE1 9TG

My top tips for travelling to Prague, Czech Republic

In the middle of November, I flew out to Prague to visit one of my oldest friends, Janna, who studies dentistry in the Czech Republic. The original plan was to visit her in her uni town of Olomouc, but eventually we decided there was more to do in Prague, and that it would be nice for Jan to have a little holiday as well!

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Janna and I on Charles Bridge

I absolutely loved Prague! It has been on my bucket list for a long time, and now I fully understand why soooo many people told me that I had to go! Now I’ve just got a bug for  visiting Eastern Europe – though, with a surname like mine, its hardly surprising!!

Rather than giving a blow by blow account of what we got up to in Prague – as I usually do in my blog posts – I thought I would simply discuss my top 5 tips for those visiting Prague:

1 – Resolving food dilemmas  

Whenever I go on holiday, I like to try the local food and drink – it is an essential part of visiting a new place for me. However, since my fab companion is vegetarian, and unsurprisingly traditional Czech food is not vegetarian friendly, this proved to be quite a tricky situation! But I came up with an ingenious, if I say so myself, solution – to go to an Italian restaurant, where they would have lots of veggie options, but since we were in the Czech Republic, they would also have good traditional Czech food!

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Goulash

Another top foodie tip is to try and decide where you are going to eat before you are starving! We had a wander around the central area near to Old Prague Square and find a few restaurants that could work for dinner whilst we were also deciding what to do for the afternoon. Deciding whilst hungry is never a good plan – not for me anyway since I get serious hanger….

2 – Free walking tours 

Like in most cities, Prague has a lot of free walking tours. Definitely do one of these since usually the tour guides are super friendly and informative as the only way they can make money is because their tour is good!

In Prague, free tours can be found on the corner of Paris street and Old Prague square and also close to the Cubism cafe that is off another corner of Old Prague square. The guides stand with umbrellas with ‘free tour’ written on it. Our tour guide was an Australian woman who lives in Prague called Katherine who was absolutely hilarious, cannot recommend getting on her tour enough.

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Prague’s Astronomical Clock 

3 – Learn some Czech before you go 

I usually try to learn a few words of the local language when I go on holidays – things like hello, goodbye, thank you etc. However, I completely forgot to do this, but the one time I did try to speak Czech – when I ordered my mulled wine – the waitress was genuinely much friendlier and clearly pleased! So learning basic Czech is a sure way to bring joy to peoples lives – and let’s be honest, get you even better service!

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Me with my mulled wine 

4 – Choosing museums carefully 

Like most European cities Prague is full of museums covering a whole variety of weird and wonderful subjects. Do NOT try and visit them all, or even most, whilst you’re in the city – doing so would mean you would miss out on exploring the beautiful winding streets of the Czech capital.

We chose to go to Prague Castle, the Museum of Communism and the Jewish Museum. I thought the Museum of Communism was very good – lots of details about the specific nature and policies of Czechoslovakian Communism. It was worth every penny that I spent on it, especially because the ticket included a much needed free coffee!

 

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Museum of Communism 

I think we were quite unlucky with Prague Castle – a lot of refurb work was being done – the actual castle museum was very short and pretty uninformative. However, we absolutely adored the Tyn cathedral; it was gorgeous. We paid 250 CZK for the combined ticket, but in hindsight we should have just got the ticket for the cathedral.

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Tickets for Prague castle 
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Tyn Cathedral 

Regarding the Jewish museum, we did not have enough time to do the whole thing, which costs 500 CZK (pricey stuff!!), so we paid to just go to the Old New Synagogue, which, I believe, is the oldest synagogue outside of Israel. I think it cost us 200 CZK just to go there, and although it was a beautiful synagogue, frankly it was not worth the money and we were pretty disappointed.

The tickets have been organised in such a way that you cannot pay to just go to the famous cemetery, which houses the most graves for its land size in the world since the government would not allow the Jews a larger cemetery and thus they had to keep burying the dead in inventive ways on the small patch of land, and the Old New Synagogue.

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Interior of the Old New Synagogue

Because we had paid a lot we decided to find and look at the gorgeous exterior of the other synagogues in the area – we actually also managed to grab a quick glimpse of the cemetery. I would recommend just looking at the exteriors if you don’t have time to do the whole thing – they said it takes between 2 1/2 and 3 hours – especially if the Jewish quarter was included in your free walking tour (which it really needs to be!!!).

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5 – Sort out maps before you arrive 

For some reason my 3G did not work when I was in Prague – which was highly irritating since I had gone through all the motions to make it work and could not find a way to fix it whilst I was there! Thus I was forced to go and buy a map. Unfortunately, we could not find a good one in the tourist offices – the best one was actually from the free tour company! So I would recommend downloading one of those offline maps either before you go or when you get wifi!!

 

 

 

 

 

 

 

 

My review of the Tate Modern’s Modigliani exhibition

On Tuesday I had the pleasure of attending the press view of the Modigliani exhibition at the Tate Modern for Glass magazine. I didn’t know a lot about the artist before attending the exhibition and thus I learnt a lot, which, for me, made attending the exhibition more than worthwhile!

Here is my piece for Glass magazine:

THE Tate Modern is opening an exhibition of the largest collection of Amadeo Modigliani’s work ever shown in the UK.  Modigliani is known for his paintings, the show also includes his rarely seen experiments with sculpture.

Amedeo Modigliani is an Italian artist who moved to Paris in his early 20s. The city and its cultural scene greatly influenced him – and this exhibition seeks to re-evaluate this well-known artist by exploring the experimentation and influences that shaped his career and also looking at the creative environments and popular culture that were central to his life and work. The show starts with his arrival in Paris, then charts the shifts in his work as he interacted with artists such as Pablo Picasso, Paul Cèzanne, and art dealers like Léopold Zborowski. The exhibition also reconsiders the women who influenced him and were present in his work and notes their independent importance in Paris’ cultural scene in the early twentieth century.

In addition to his paintings and other works, a first for the Tate, a virtual reality experience, is integrated into their exhibition through a collaboration with HTC Vive. The VR experience is seated and transports visitors into Modigliani’s final studio, which can be viewed from three different angles. Following six months of extensive research and mapping, the space and its 60 objects are brought to life. First-hand accounts by those close to the artist can be listened to while the visitor visually explores the studio.

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Modigliani’s sculptures 

 

Glass attended the press view and we especially liked the attention the curators had given to providing a lot of detail about Modigliani’s movement around Paris, and later on to the South of France, and how each move affected who he interacted with, which, in turn, influenced and altered his working style. One room of the exhibition was dedicated to photographs and film footage of where he had lived which meant that you could really imagine Modigliani’s world – one marred by poverty, illness and sadness.

An interesting transformation in his work, which was very visually apparent, was when he moved to Nice during the First World War because of ill-health. These pieces involved bright colours, whereas some of his earlier works were extremely dark since deep brown tones are exclusively used.

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Boy in Short Pants, c.1918, Oil paint on canvas, 997 x 648 mm
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Portrait of Paul Guillaume, Novo Pilota1915, Oil paint on card mounted on cradled plywood

Furthermore, I was very intrigued by the change in his approach to nudes between 1917 and 1919. His later ones are more abstract, more blurred than his earlier ones where every line on the model’s body are carefully documented.

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Nude1917, Oil paint on canvas, 890 x 1460 mm. Private Collection
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Nude, 1919

This curatorial commitment to transporting visitor’s in Modigliani’s life-story was furthered by the VR experience, which we thought was extremely cool and inventive! The VR experience plunges you into Modigliani’s final studio, a place where he felt his most comfortable to express himself through painting, but tragically is also where he completed his final painting before his death from meningitis in 1920. We really liked the inclusion of spoken quotes by those who knew Modigliani at the end of his life and the amazing way that some of the objects moved, such as flickering candles – this made the experience feel almost completely real. We would definitely recommending ensuring that you are able to get tickets for the VR before entering the exhibition.

It is a one-off experience that rounds-off the exhibition experience perfectly. The exhibition has been curated by Nancy Ireson, Curator of International Art, Tate Modern and Simonetta Fraquelli, Independent Curator, with Emma Lewis, Assistant Curator.

by Allie Nawrat

The Modigliani exhibition is open from November 23, 2017 to April 2, 2018

Tickets cost £19.70 for adults, children under 12 can enter for free

Tickets for the Virtual Reality part of the exhibition are issued every half an hour on a first come first served basis at the entrance to the exhibition. An at-home room scale version will also be available via VIVEPORT, HTC Vive’s app, from December

Modigliani exhibition, Level 3, Boiler House, Tate Modern, Bankside, London, SE1, United Kingdom

My interview with Ruth Bradley for Glass magazine

Last week, I got the opportunity to interview Ruth Bradley for glass magazine where I am currently interning – love love love this job! Here is my piece:

RUTH Bradley is a Dublin-born actor best known for her roles in popular series Humans, Channel 4’s most successful drama in 20 years, and the BBC’s BAFTA award winning The Fall. She has had many  TV roles including Doctor Who, Primeval, Julian Fellowes’ Titanic alongside Jenna Coleman and Rebellion, about the 1916 Easter Rising in Dublin. As well as her TV roles, Bradley has had roles in numerous films. Examples include Holidays, a short horror film anthology that was celebrated at the TRIBECA film festival, Grabbers, a British-Irish monster film about an alien threatening an isolated Irish island, and In her Skin, an Australian drama-movie based on the murder of a 15-year-old Rachel Barber.

Bradley has won the Best Actress award at the Irish Film and Television awards once – in 2013 for her role in Grabbers, a sci-fi comedy – and won the Best Supporting Actress award in 2007 for her role in Stardust, a mini-series set in 1980s Dublin.

Can you tell me about a bit about your background?
I grew up in Canada and Dublin. I went to Scoil Neasain and Holy Faith Convent in Dublin and Trinity College, but I only lasted a few weeks there so we can barely count it.

Coming from Dublin originally, was Rebellion a special project for you? |
Yes, actually. More and more as I worked on it. It was really interesting because anything I knew about that period.. I had learned from school. But there is so much to uncover about that time once you scratch the surface. Dublin had one of the worst slums in Europe, there was huge political unrest with the possibility of home rule, some people were happy to wait to see whether that would pass. It was such a brutal time. I think it was also fantastic that our director was Finnish so he brought a completely fresh perspective, unburdened by what we had grown up with.  It was very moving for me.

Can you tell me about your main inspirations to become an actor?
It was just something I knew I was going to do before I really knew what it was. I remember wanting to move people through feeling something myself. Then when I started doing drama classes as a kid I realised that I could take people with me on a journey. I was also a huge film buff as a kid. Whenever I got a pound or two I would head straight to the newsagent to buy Empire and Premiere.

You played a “synth” in Channel 4 hit show, Humans, that must have been such a strange but fascinating acting experience.
It really was/is. It’s endlessly challenging. Physically there are so many restrictions and boundaries. You have to trust that the audience will feel what you’re feeling through your eyes alone without using any of our human tells.

Can you describe a synth and what your part was in Humans?
Synths are human like robots which are part of our everyday lives in this parallel present. Some are conscious, my character Karen is.  She has been posing as a human detective and very few people know what she actually is.

How did you work out how you were going to act that kind of character?
I started working from the inside out, like I would with any character. Her background, her short life experience, how those experiences would have shaped her, how they would manifest themselves in her current personality.  Building on top of that, there was the human character she was playing in order to hide in plain sight. Then physically, I worked a lot with Dan O’Neill, the wonderful choreographer on the show, to figure out how one would play a human on top of a synth body. Fascinating to figure out.

Now onto Electric Dreams. Can you tell me a bit about the concept of the show and your episode, Human Is?
It’s based on the short stories of Phillip K Dick. Our episode is essentially about the nature of love and what it is to be human.

You play Yaro, confidant and right-hand woman to the main female character, who is in an emotionally abusive relationship. Can you tell me a bit more about the character and what you enjoyed most about playing this particular character?
Yaro is direct and yet ambiguous, it’s unclear what Amy of the characters motivations are in this piece.  I really enjoyed how much was left to the actor in the script, how much could be played between the lines.  I loved the grey areas.

What was your favourite thing about filming electric dreams?
Probably the freedom on set. With such a great cast around you and wonderful director, it’s easy to let go and play.

Your co-stars in the episode are Bryan Cranston and Essie Davies – what was it like working with such big names in the industry?
I think the best actors are often the most generous and kind spirited. They’re both so talented and aren’t afraid to try things and be loose. It’s just wonderful to work with actors of that calibre. It raises you up.

What have been the high points of you career?
Humans and an Australian film I did called In Her Skin. Grabbers is definitely up there too.

You have played a lot of roles in various sci-fi programmes – what is it about sci-fi as a genre that attracts you?
I think there are generally really interesting female roles in sci fi. It always starts with script and character for me so I suppose that’s where the attraction lies.

As a woman who works in the sci-fi genre, I have no doubt that you are extremely pleased that there is going to be a female Doctor Who. I also read that originally your part in Electric Dreams was written for a man. There is a lot of discussion about women’s roles in sci-fi often being tied to a strong male character, rather than having their own strong character.
I’m so delighted there will be a female doctor. When I think about my favourite sci fi film, I think of Ripley in Alien or Terminator. Both of those feature female leads. I don’t think anyone would tire of plenty more of them.

In general, what has been your experience as a woman working in the sci-fi genre?
That’s a difficult one to answer because I can’t really be objective as I have no alternate experience but I would say very positive, exciting and rewarding.

If you are able to share, have you got anything particularly exciting in the pipeline for the next few?
I have a film called Three Seconds which I’ve just wrapped and I’m currently filming season three of Humans, all due for release next year.

by Allie Nawrat 

Human Is is available online at All 4 now

 

Early press view of The EY Exhibition: Impressionists in London, French Artists in Exile (1870-1904)

I had the privilege of attending the press view of this year’s EY sponsored exhibition at the Tate Britain titled ‘Impressionists in London, French Artists in Exile (1870-1904).’ This was my first experience of an official press view of an art exhibition. I would say the best thing about it was how quiet it was, especially as I got there early so I could head to the office as early as possible afterwards, which meant that I could really look at every piece and take in all the information – usually Tate exhibitions are manic and super busy!

Here is my piece for Glass:

(images included are my own)

SIX years ago, EY and the Tate formed an art partnership that brings prestigious exhibitions focusing on major figures and moments in art history. This autumn the exhibition is being held at the Tate Britain and is titled Impressionists in London, French Artists in Exile (1870-1904). The exhibition has been curated by Dr Caroline Corbeau-Parsons in collaboration with French galleries, Petit Palais and Paris Musées.

Work by Monet, Tissot, Pisarro, Sisley and other French artists who sought refuge in Britain during the Franco-Prussian war that shows recognisable London views will be exhibited in order for visitors to consider London’s landmarks through French exiles’ eyes. The exhibition includes more than just paintings – there are sketches and etchings done by famous painters and sculptures by famous French sculptors like Jules Dalou and Jean-Baptiste Carpeaux.

 

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As well as sections that look at the work of specific artists during their time in London, a whole part  of the exhibition has been dedicated to the artists’ depictions of the Thames. Additionally, the exhibition seeks to consider the impact London had on the work of these well-known artists and how they interacted with British culture.

The exhibition also aims to map out the artistic networks these artists built in Britain. After their arrival in London, the French artists sought out notable figures who could mentor them and provide them with financial assistance. Examples include Charles-François Daubigny, who mentored Monet, and Paul Durand-Ruel, an art dealer who first met Monet and Pissarro during their exile in London in the 1870s and bought over 5000 Impressionist works.

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Pissarro, Bank Holiday, Kew (1892)
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Monet, The Thames Below Westminster (1871)

Glass attended the press view of the EY Exhibition: Impressionists in London. The first room provides a useful historical context to the Franco-Prussian war that helps the audience to understand why these artists resided in Britain and how their personal experiences in the war inspired their later work. For example, Pissarro chose to paint suburban life in Norwood in south-east London, where he lived when he first visited London, rather than painting central London, because these places reminded him of his home which had been destroyed during the Prussian invasion. He said painting these places were a way to deal with his homesickness.

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Camille Pissarro, Crystal Palace, Upper Norwood (1871)

Another really interesting section of the exhibition was the final section where André Derain responded to Monet’s Views of the Thames exhibition in Paris by making his own pieces of the same subject but with a more modern, more intensely colourful approach.

Right to left: André Derain,Charing Cross Bridge (1906) and Barges on the Thames (Canon Street bridge) (1906-7)

by Allie Nawrat 

The EY Exhibition: Impressionists in London is running at the Tate Britain from November 2, 2017 until May 7 2018

Tickets cost £19.70 for adults and is free for children under 12

The exhibition is accompanied by a programme of talks and events at the Tate Britain

Previous EY collaborative exhibitions with the Tate include Paul Klee – Making Visible (2013), Late Turner – Painting Set Free (2014), Sonia Delaunay (2015) and The World Goes Pop (2015). 2018’s exhibition will be Picasso 1932 – Love, Fame and Tragedy

Tate Britain, Milibank, London, SW1P 4RG