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RAYMOND GUBBAYpresents FORTHCOMING CONCERTSATTHE ROYALALBERTHALL Saturday 23 September at 7.30pm Royal Philharmonic Orchestra Beethoven’sNinth London Philharmonic Choir Andrew Nethsingha conductor An unmissable all-Beethoven concert culminates Federico Colli piano with the monumental ‘Choral Symphony’. Ailish Tynan soprano Justina Gringyte mezzo-soprano Piano Concerto No.5 ‘Emperor’ Robert Murray tenor Symphony No.9 ‘Choral’ Jonathan Lemalu bass Sunday 8October at 3.00pm Grand Organ Gala 10,000 organ pipes in glorious harmony. Celebrate Royal Philharmonic Orchestra the power and majesty of the king of instruments. City of London Choir Saint-Saëns - Symphony No. 3 ‘Organ’ Hilary Davan Wetton conductor Parry - I was Glad Laura Mitchell soprano Fauré - Pie Jesu & In paradisum from Requiem Philip Scriven organ Strauss - Sunrise from Also sprach Zarathustra Fanfare Trumpeters of Bach - Toccata & Fugue in D minor the Band of the Royal Logistics Corps Mussorgsky - Great Gate at Kiev Handel - Hallelujah Chorus Widor - Toccata Elgar - Land of Hope and Glory Saturday 28 October at 7.30pm Royal Philharmonic Orchestra English Concert Chorus Carmina Burana Highgate Choral Society Royal Choral Society Returns by popular demand -witness Orff’s choral Southend Boys’ Choir extravaganza performedbyover 400 voices. Andrew Greenwood conductor Rossini - William Tell Overture Jennifer Pike violin Jennifer France soprano Bruch - Violin Concerto No.1 sep17 Thomas Walker tenor Orff - Carmina Burana David Kempster baritone ROYAL ALBERTHALL BOX OFFICE 020 7838 3109 BOOK ONLINE royalalberthall.com barbican.org.uk SEATS AVAILABLE FROM raymondgubbay.co.uk (24hrs/bkg fees apply) 0844 847 2319 News 1–10 Instagrammers 1–2 in Residence Sep 2017 Basquiat: Boom for Real 3–4 A New Beginning 5–6 Woyzeck in Winter 7–8 Welcome to Culture Mile 9–10 Listings 11–40 Art 11–14 Film 15–20 Classical Music 27–32 Contemporary 7 Music 33–34 Theatre & Dance 35–38 8 9 Learning 39–40 Information 22–25 How do you see the Barbican? From the architecture of the towers and Explore 22 the hidden corners of the foyers to our Calendar 23–24 installations and performances – there are so many angles to the Centre and Booking 25 so many different ways of experiencing it. Curious about how our visitors Meet our Instagrammers: see the Barbican and the @tobishinobi surrounding neighbourhood, @londonlivingdoll we invited six Instagrammers @justanotherdayin to explore the Centre @mitna29 through their lenses. Armed @thealexx09 with a smartphone and @liamfarquhar their own unique style, our Instagrammers took us on Different Instagrammers, a variety of photographic different photographs – News journeys around the Barbican. what would the Barbican look like through your lens? Share your photos with us on 1 Instagram @BarbicanCentre ‘The Barbican not only appealed to me for its distinctive style, but turned Sep 2017 into a place I would regularly visit to 3 seek inspiration’ Alex 2 4 5 1 6 12 11 10 12 13 14 15 Images: 1. Barbican Conservatory by @thealexx09 10. Robert Henke’s Lumière III by 2. Richard Mosse: Incoming by @justanotherdayin @justanotherdayin 11. Art Gallery foyer by @justanotherdayin 3. Barbican Conservatory by @mitna29 12. Manana//Cuba: Afro-Cuban 4. Blanca Li Dance Company’s Robot by Collaborations by @liamfarquhar @justanotherdayin 13. Royal Ballet’s Les Enfants Terribles by 5. British Sea Power: Music for Polish @londonlivingdoll Animation Classics by @thealexx09 14. The Japanese House : Architecture and Life News 6. The Japanese House: Architecture and Life after 1945 by @mitna29 after 1945 by @liamfarquhar 15. Architecture Tour by @tobishinobi 7. Architectural details by @mitna29 8. Architecture Tour by @liamfarquhar 9. Royal Ballet’s Les Enfants Terribles by Instagrammers in Residence @londonlivingdoll 2 Sep 2017 Robert Carrithers. Jean-Michel Basquiat outside Todd’s Copy Shop, New York, 1980. © Robert Carrithers Cultural historian The clock ticks down, Augustus Casely- the flint sparks, the fuse burns short – the tart and Hayford discusses fleeting tang of electricity the explosive on the tongue – and then … impact of Jean- BOOM – Boom for real … Michel Basquiat In little more than a decade, ahead of our Jean-Michel Basquiat autumn exhibition. triggered a series of intellectual and artistic explosions that reconfigured many of the creative spheres that he touched. Ripping through the late seventies and eighties, his prolific and thrilling output eviscerated orthodoxy, fusing the esoteric and the conventional. He sent waves of creative innovation News accelerating across traditional culture until once cast-iron categories dissolved, until his own imagination detonated 3 Basquiat: Real for Boom in a cataclysmic paroxysm and left each altered. value and deem worthy of Ultimately however, they serious consideration. were fodder to further his greater project of dissecting Basquiat understood value the way that we perceive, – he escaped homelessness Sep 2017 categorise and give value. to become an internationally acclaimed artist in a handful ‘A magnificent of years. Perhaps driven theatre of alternate by memories of his difficult childhood, by a hope that possibilities, those early years would simultaneously not define his adult life, he beautiful and approached his career with shocking, both a pathological application. Blessed with a defining talent, thrillingly nascent he rapidly found success, and yet ancient‘ while the residual pain of childhood lingered as an While he was recuperating important catalyst for his after being hit by a car, practice. He understood the his mother bought the tension between his race and young Basquiat a copy his gift, he knew what his talent of Gray’s Anatomy. This meant, what his Blackness, Victorian exploration of the his Haitian, his Puerto Rican mechanics of the human and once African ancestry body left him obsessed could connote to the artworld, with ideas of dissection and and how this ethnicity could reconfiguration. Throughout be used to limit his progress his career he nurtured a – but he also knew how he forensic interest in forcing might deploy his identity that looked backward with us to think about how we for optimum impact. These such ferocity that it became might pull apart and remake gifts made him attractive to the future. And Basquiat intellectual disciplines. He many of the most interesting left behind a cultural arena looked at history as a cadaver figures of the time, Andy that was transformed by his that could be deconstructed Warhol, David Bowie and brief, but brilliant, presence. and reanimated to suit us. Blondie among many others. Searching beyond traditional During his early years of ‘He looked at western sources of artistic success, Basquiat’s volcanic history as a inspiration, Basquiat found an talent was more than a alternative plane upon which counterbalance to his cadaver that could to build his art, borrowing demons, but those anxieties be deconstructed and refashioning punk, rap, intensified until ultimately, like and reanimated ancient Egyptian history and many of his contemporaries, traditional African art. From he was consumed by his own to suit us’ this other world he conjured ghosts. While there have a magnificent theatre of been other artists who have Although he died at 27, in alternate possibilities, reconfigured the creative his short life Basquiat made simultaneously beautiful and metric of their time, few did a telling contribution to the shocking, both thrillingly so with the explosive style cultural world, helping to nascent and yet ancient. It of Jean-Michel Basquiat. normalise a particular kind of beguiled with its flamboyant challenge to the intellectual brilliance and stunned with Basquiat: Boom for Real status quo. Graffiti artist, its difference. This was 21 Sep 2017–28 Jan 2018 News painter, poet, DJ, philosopher, perhaps his Grand Project, musician – Basquiat took the forced reevaluation of See page 11 for details on creative disciplines with worth, the reconsideration a sure-footed mastery of the things that we might 4 Sir Simon Rattle’s When Sir Simon Rattle Orchestra is performed first year as Music picks up the baton as Music alongside the extraordinary, Director of the London collaborative Genesis Suite Director of the Symphony Orchestra, it will created in wartime America Sep 2017 London Symphony be with a flourish. This is Rattle by some of the world’s Orchestra comprises ten days of Berlioz greatest musical exiles. and Stravinsky, of Elgar and and Artist-in- Helen Grime, of new music The latter will be directed Association with and community projects by the great musical the Barbican and designed to celebrate not just communicator Gerard Rattle’s arrival at the LSO, but McBurney, further proof Guildhall School his place in a wider creative of Rattle’s commitment to kicks off with This community. It’s going to be expanding possibilities – is Rattle, ten days inspirational. But what then? ‘Another no-brainer. We of concerts and have to nourish this art ‘We have to nourish form from the ground up’ special events this art form from – and an example as to marking his the ground up’ why Rattle is also Artist-in- appointment. Association at the Barbican and the Guildhall. Well, whatever is the opposite of settling into a routine. Looking beyond the concert ‘I’ve been working with an hall, 2018 holds the prospect extraordinary orchestra in of Stockhausen’s immersive Berlin for years, an orchestra sonic spectacular Gruppen that is very proud of its history in the Turbine Hall at Tate and looks back,’ says Rattle. Modern. Ambitious? It’s just ‘I’m now working with an what Rattle does, and from orchestra – the LSO – that now on, it’s what the LSO has an extraordinary history does, too. ‘The idea is that but absolutely will not admit we find other spaces in this to the idea of looking back. extraordinary city where They look forward. They we can do extraordinary say, “What’s next? What things. I’m sure this is only can we do that’s new?”’ the start,’ he says.