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Now Soon Always 18 Nov now soon always 18 nov November 2018 1 now This month ... Hello Contents A tapestry of culture November’s remembrance commemorations Now The textured effect on the Barbican’s concrete are particularly significant this year, as it marks Highlights walls is the inspiration for a new kinetic and 100 years since the end of the First World War. interactive art work in the Beech Street tunnel, What’s coming up this month 3–4 How we understand this conflict now it’s no created by the renowned Jason Bruges Studio. longer in living memory is heavily influenced Remembering and reflecting on As a reflection of the tools and workers that by the arts, as we discover on pages 5-6. the First World War 5–6 crafted the textured wall of the building above, Also looking back, we mark 70 years since Cinema 7–8 Brutalist Tapestry uses robotic technology to me- the docking of the Empire Windrush with a Classical Music 9–10 chanically reshape the surface of the 21 metre façade in the tunnel. celebration of Caribbean culture in Britain. Contemporary Music 11–12 Discover the fascinating tale of a spookily Theatre & Dance 13 Three robotic arms work autonomously to prescient film made almost a century ago reveal new details and designs to passers-by. that still feels relevant today (p3), and look Art & Design 14 It is created by translating creative content forward to the future with actress-turned- Soon director Storme Toolis, who tells us she from Culture Mile into tangible marks. The hopes her production will empower a Book now for these artwork seeks to prompt questions about the whole generation of young people (p3). forthcoming events 15–16 future possibilities for this space, and marks the beginning of Culture Mile’s long-term ambition Always to transform Beech Street. Enjoy the Barbican at any time of day 17–18 Brutalist Tapestry Until 2019 Beech Street Tunnel A Culture Mile installation 1 barbican.org.uk now soon always Images l-r: Brutalist Tapestry is installed in Beech Street tunnel; poet Inua Ellams leads a Pit Party based on cult film the Warriors; My Giraffe, part of Framed Film Festival. © Viktor Arnolds; make eye-catching cards using Kirigami at one of our workshops. A new world of Get crafty at our Hacking film for families workshops The Warriors They can be hard to find in the UK, but there’s a Learn how to create beautiful handmade “Warriors! come out to play-ay!” Poet- wealth of films from around the world which put items, from brilliant badges to cracking playwright Inua Ellams is taking cult 1979 children’s experiences at the heart of the story. crackers, in our series of crafty workshops. film The Warriors as the inspiration for a Dive into this new world of cinema at Framed Make eye-catching cards your friends will two-part Pit Party which opens with spoken Film Festival, which features a programme of remember using Japanese kirigami – the word artists and poets interweaving their own rarely-seen gems, plus free workshops that art of folding and cutting paper (17-18 responses to the themes the movie raises. encourage children to explore their creativity. Nov) – or learn the technique of marbling The action-thriller film sees a gang From short and easy goings-on, to more (1-2 Dec) by dripping special paint onto forced to travel across New York City to involved explorations of the programme through water to create swirling, unique patterns their own turf, after they are framed for workshops, the free activities mean families can that transfer onto a range of materials. the murder of another gang leader. make a day of their trip to the festival, or just Following the success of his earlier workshops, ‘I’m hoping the poems widen the context spend a few hours. Phil Cuttance is once again sharing how to and cast a different light on what’s being ‘Screening international films encourages young make vases out of Jesmonite, a fine cement discussed about the film,’ says Ellams. viewers to open a window into another culture (27-30 Nov); plus there’s a chance to learn The second part of the Pit Party is a laid-back and discover both the similarities and differences the eco-friendly ‘bundle dye’ process, which evening of speeches, poetry, dance and hip-hop in other children’s experiences,’ explains transfers colour from flowers and plants to cloth music including Barbican Open Lab alumni. Barbican cinema curator Susie Evans. ‘The with a simple steaming technique (11 Nov). workshop activities that are devised in tandem Whether you use your new skills to make Inua Ellams Pit Party with the screenings use the programme as a Christmas presents, or just want to give yourself jumping off point to engage children with the art 18 Nov the gift of a new skill, discover the full range See page 14 for details of film-making and inspire them to create.’ of what’s on offer at barbican.org.uk/make. Framed Film Festival Make! 17–18 Nov 17–18 Nov See page 8 for details November 2018 2 now Redefining the Juliet of the future Storme Toolis says she wants her production to be the © Filmarchiv Austria start of a movement which empowers young people and gives them self-confidence Warning from history found in a Paris flea market The fascinating and tragic story of a remarkably prescient film about the dangers of intolerance. While rummaging in a flea market in the French capital in 2015, a collector uncovered one of the most sought-after films in Austrian history. Die Stadt ohne Juden (The City Without Jews) is a silent movie made in Vienna 14 years before the country was annexed by the Nazis. Telling the story of a town that expels its Jewish population, only to regret the decision later, its themes of tolerance and multiculturalism resonate strongly today. Based on a 1922 satirical novel by Hugo Bettauer, it was adapted by Hans Karl Research and development for Redefining Juliet Photo © Lucy Barriball Breslauer and Jewish playwright Ida Jenbach. When it premiered in 1924, the film enraged The original idea for Redefining Juliet who you are, and being comfortable to the rising National Socialists, who were came to actor Storme Toolis because she say “this is what I bring to the table and if already vigorously opposed to Bettauer wanted to play Juliet. As someone with you don’t like it, that’s your problem”. and his campaign against anti-Semitism. cerebral palsy who uses a wheelchair, she ‘This is what I would have wanted to see when knew she would find it difficult to get the Nazis threw stink bombs into cinemas I was 14 years old, because you want to see opportunity in a traditional production. that showed it, and condemned people like you doing something you want Bettauer as a ‘corruptor of youth’. One But as the concept evolved, through the to be doing. The whole concept used to be party member called for ‘lynch justice Barbican’s Open Lab scheme and a TV about me and what I wanted to do, but now against all polluters of our people’. documentary for BBC Four, she realised there it’s about what I can give other people.’ was a wider point. ‘I thought it can’t just be On 10 March 1925, less than a year after It was the realisation that so many people about me, there must be other people that want the film’s premiere, Bettauer was shot would identify with the same issues she to do this but wouldn’t get the opportunity.’ multiple times by a dental technician who grappled with when she first came up with was outraged at the book’s contents. The result is a frank, emotional and the idea, that has given Toolis huge ambition He died in hospital a few days later. empowering retelling of Shakespeare’s for its future. She’s moved into a directorial classic love story. Weaving scenes from the role rather than performing in the production, This was never a lost film as such – it survived play with the actors’ own life experiences, it to enable her to focus on its legacy. ‘For me in an edited version, but the original ending explores sexuality, perceptions of desirability now, this isn’t just about the show, this is about was thought to have disappeared until it in relation to disability, trans issues, stature, creating a movement. It’s about who gets to was discovered three years ago. Now it is physical attributes, and generally not fitting play these roles? Who gets to be the desirable being screened, with a new score by Austrian into a stereotypical view of ‘normal’. people and what does it mean to be desirable? composer Olga Neuwirth, who describes Why is it so important for women to be sexy the work as a ‘not just an old silent movie, ‘It’s particularly relevant for people aged and who says it is? So alongside developing but a politically engaged masterpiece’. 14-16 because growing up is incredibly the production, I’m doing education and hard,’ says Toolis. ‘If you have anything – and The rediscovery of this film in today’s political advocacy around the issues it raises. This is I’m not just talking about disabled people climate seems like a timely coincidence. Some more than just a show, it’s a campaign.’ here –anything that subverts the norm, you would even say a warning from history. find your experiences might not always be Redefining Juliet acknowledged in the way they should be.’ Die Stadt ohne JudenPG 29–30 Nov A dystopian prophecy of intolerance But this isn’t about inviting pity, cautions See page 14 for details 15 Nov the actress, familiar to many for her TV Part of The Art of Change See page 9 for details roles.
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