The blog for hip + arty urban adventurers. Uncovering things to do and places to go in London and beyond. Visit the main site at a www.theculturalexpose.co.uk and click here to join the mailing list...
These candid and insightful photos captures the history of one of the world’s most iconic bands over half a century - from rebellious teen starters working the club circuit to wealthy aged rockers who can fill a stadium of diehard fans to this day. Admission to the exhibition (in the East Wing Galleries, East Wing) is FREE and on until August 27th.
Margate may not have always been kind to Tracey Emin but it has provided her with plenty of material for her self-reflective art. Her latest exhibition comprises work made in the past year and was made specifically for her hometown - with her being a wiser and less ‘mad Tracey from Margate’. Her tales of promiscuity and rape may not have inspired complete confidence in the coastal town, but don’t be put off, Margate is a great opportunity to take break from the capital to see the new show, which is part of the Cultural Olympiad.
Emin’s harshest critics may find themselves silenced by this new collection, most of which is straight from her studio. It shows the 50-year-old artist reflecting on her cruel experiences of Margate in a more mature way - revealing a new found affection for the location of past defiance. The works include sketching, sculpture, embroidery, the unmistakable neons and as always embody themes of eroticism, depression and love. Perhaps the greatest silencer of all is that her work will be hung alongside nude sketches by Turner and Rodin, highlighting the power she wields as a female artist representing herself, unlike years gone by. And ever the rebel, Emin continues to stick two fingers up to the Man - and we kind of like that! (Words: Laura Thornley)
From a quick look at the plot - which revolves around a newly elected Pope that cannot bring himself to greet the faithful, leaving his advisors to seek help from a renowned psychoanalyst - you would be excused to think that this is nothing more than the Italian version of The King’s Speech. However, both films tackle a similar subject from two different angles.
Melville (Michel Piccoli), the central character, has the more daunting task of facing his fear of his new role and responsibilities on his own. After a brief awkward session with the psychoanalyst, Melville escapes the Vatican and starts wandering around the city. As expected, a legendary actor Piccoli perfectly captures the child-like enthusiasm with which Melville embraces the simple joys of life that he has been deprived from for a long time, adding a warm and affecting touch to these scenes and helping us feel emotionally connected to a character who happens to be the Pope.
Unfortunately, whenever the story moves away from Melville’s stroll to follow the life in the Vatican, the film loses some of its charm. By showing us how the initially disorientated psychoanalyst ends up appearing almost at ease, Moretti makes a nice point about how confinement does not necessarily equal unhappiness but these mostly comic scenes feel somewhat tame (with the exception of the impromptu volleyball game which is as fun as it sounds).
It is difficult though to be overly critical of a film that never succumbs to the forced sentimentality often associated with this type of stories. We Have a Pope’s strongest merit is that it manages to warm our hearts not by feeding us with the idealistic notion that “if you believe in yourself you can accomplish anything” but by helping us realise the sheer happiness that lies in accepting that not everyone needs to become a leader. (Words: Apostolos Kostoulas)
Before you throw your hands up in disgust at the thought of another remake; relax! Apocalypse Now is being re-released back into cinemas and no, it’s not even in 3D. In fact, it doesn’t need it; the re-mastered 1979 war drama is more epic than ever. Under Francis Ford Coppola’s direction you sweat in the stressful action of the Vietnam War and fear senseless death with Captain Benjamin Lillard (Martin Sheen). He leads his crew on a secret mission to kill an ‘insane’ renegade - Green Beret Walter Kurtz (Marlon Brando) who has lost sight of his duties and become a tribal God in Cambodia. It’s a story questioning the honour of war and so the images of death and destruction are still relevant to what’s on the news today and the acting is so superb that it transports you into the horror of the scorching war zone yourself. (Words: Selina Ditta)