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Baby Broadway brings the sound of the West End to your doorstep. The whole family can sing and dance along to well-known songs from hit shows and films such as Oliver!, Mary Poppins, The Sound of Music, Dirty Dancing, Frozen and many more, in an interactive family concert performed by West End singers.

Open to all ages from newborns to school age to grandparents, tickets are £10 per adult and children go FREE! (Up to 3 children per adult). Concert lasts approximately 45 minutes, doors open 15 minutes before start time.

Visit the Baby Broadway website for more information

Free entry – complimentary tea and cake – non members welcome

This is the third in what is now becoming an annual Highgate Society event – a January afternoon
travel talk and tea. Our first, in 2016, featured visits to North America by Catherine Budgett Meakin
and to the Andes by Richard Webber. Last year it was the turn of Michael Hammerson who dusted
off his slides and diary account from 1966 to treat us to a wonderful account of his experiences as a
young man visiting the battlefields of the American Civil War.
This year our focus shifts to Asia where we will hear travellers’ accounts of visits to three countries in
the Caucasus and Central Asia that receive very few foreign visitors.
The presenters will whet your appetite for a visit with images of magnificent mountain scenery as
well as heritage site of world-wide significance. This will be presented within a broader discussion of
sustainable tourism, the impact of the collapse of the Soviet Union, geo-political uncertainty and
social acceptance and resistance to the spread of Western values.
Do you need a guide to visit these countries? Or should you join a group? How safe will you be? And
how easy is it to engage in meaningful discussion with the views of local people? Come and hear.

Programme
3.15 1: Kyrgistan: Guyonne James
3.40 2: Armenia: Richard Webber
4.05 Questions, answers and discussion in response to talks 1 and 2
4.20 Tea
4.35 3: Iran: Betty Pires + team (the precise members of which are to be confirmed)
5.00 Questions, answers and discussion on practicalities of a central Asia visit

mini mozart

Mini Mozart offers fun and interactive live music classes for toddlers and babies. The classes feature two or more live instruments; a clarinet, violin, flute, French horn, saxophone or trumpet with a piano accompanist. The idea of Mini Mozart is to get children actually listening, not just hearing. Children interact with our live musicians in a way that is impossible with recorded music.

It’s hard to say which will be your favourite part of the class; the warm up where the teachers introduce their instruments allowing your little one to get up close and touch the instruments, or the part where they reveal their suitcase full of fun props that will entice your child on an interactive musical adventure.

Packed with puppets, parachutes & percussion, bursting with Bach & bubbles, and flush with fairy tales and flutes; follow our rotating team of 4 teachers and their piano accompanist on a multi-sensory musical journey that will inspire your little one with instruments from every section of the orchestra.

“I couldn’t wait to get out and about after Alfie was born. Mini Mozart was perfect because it was interesting for both of us!” Claire, Mum to Alfie (aged 4 months)

Start time: 9.30am for toddlers and 10.15 for babies.

Join the tropical pop-up dance floor with N6Zumba – the dance-fitness party with a Latin twist! All levels welcome, drop in any time to start feeling the benefits of a healthier and happier lifestyle. Classes run with the Haringey school term and are ladies only – sorry guys!

Join the tropical pop-up dance floor with N6Zumba – the dance-fitness party with a Latin twist! All levels welcome, drop in any time to start feeling the benefits of a healthier and happier lifestyle. Classes run with the Haringey school term and are ladies only – sorry guys!

Free and open to all but do phone to book your place. In these lively debates, prominent and informed speakers argue their points of view on issues of current importance. They are ‘seconded’ by pupils from local schools, and audience members also have the opportunity to sway the opinion of those attending.

The motion: This House Believes that Social Media Undermines Democracy

Proposing: Carl Miller, Research Director of the Centre for the Analysis of Social Media at the think tank Demos 

Opposing: Paolo Gerbaudo, political and cultural sociologist, lecturer in Digital Culture and Society at King’s College London

Join the tropical pop-up dance floor with N6Zumba – the dance-fitness party with a Latin twist! All levels welcome, drop in any time to start feeling the benefits of a healthier and happier lifestyle. Classes run with the Haringey school term and are ladies only – sorry guys!

To reserve your free place please contact the office.

“This house believes that the use of social media undermines democracy”

Proposer: Carl Miller.  Reserach Director of the Centre for the Analysis of Social Media at Demos.

Opposing:  Paolo Gerbaudo.  Sociologist and lecturer in Digital Culture and Society at King’s College, London

Join us for the Annual Fundraising Concert in aid of the Harington Scheme and Noah’s Ark Children’s Hospice.

The Haydn Chamber Orchestra, conducted by Jonathan Bloxham with pianist Charles Owen, will be performing on Saturday 27th January 2018 at 7.30pm.

Tickets ( £25, £20, £15, £10) and further information  from Pauline Treen 020 8340 5643.

mini mozart

Mini Mozart offers fun and interactive live music classes for toddlers and babies. The classes feature two or more live instruments; a clarinet, violin, flute, French horn, saxophone or trumpet with a piano accompanist. The idea of Mini Mozart is to get children actually listening, not just hearing. Children interact with our live musicians in a way that is impossible with recorded music.

It’s hard to say which will be your favourite part of the class; the warm up where the teachers introduce their instruments allowing your little one to get up close and touch the instruments, or the part where they reveal their suitcase full of fun props that will entice your child on an interactive musical adventure.

Packed with puppets, parachutes & percussion, bursting with Bach & bubbles, and flush with fairy tales and flutes; follow our rotating team of 4 teachers and their piano accompanist on a multi-sensory musical journey that will inspire your little one with instruments from every section of the orchestra.

“I couldn’t wait to get out and about after Alfie was born. Mini Mozart was perfect because it was interesting for both of us!” Claire, Mum to Alfie (aged 4 months)

Start time: 9.30am for toddlers and 10.15 for babies.

Join the tropical pop-up dance floor with N6Zumba – the dance-fitness party with a Latin twist! All levels welcome, drop in any time to start feeling the benefits of a healthier and happier lifestyle. Classes run with the Haringey school term and are ladies only – sorry guys!

LUX is pleased to invite local residents, community groups and businesses to a free breakfast event at its building in Waterlow Park. Join us for coffee, tea and pastries, meet our team and other locals as well as visit our current exhibition. All welcome, drop in any time between 9 – 10.30am.

The current exhibition, BL CK B X: Alia Syed, presents Syed’s Wallpaper, a double screen film that was originally commissioned by the Glynn Vivian Art Gallery in 2008. Wallpaper is a performative documentary in which four generations of women in the artist’s family attempt to recreate a wallpaper design that was painted by Syed’s grandmother when the artist was a child. It features Syed, her daughter, mother, and grandmother, as well as her sister, artist-filmmaker Tanya Syed. Documenting the process in video and 16mm film, the five women take turns in the film’s technical roles (performer, director, camera operator), thus de-stabilizing the relationship between filmmaker and filmed subject, and the traditional generational hierarchy. The result is a self-reflexive and delicately layered film which deals with family, memory and subjectivity. Wallpaper is shown alongside a library display of Syed’s Points of Departure (2014) and A Story Told (2004).

Join the tropical pop-up dance floor with N6Zumba – the dance-fitness party with a Latin twist! All levels welcome, drop in any time to start feeling the benefits of a healthier and happier lifestyle. Classes run with the Haringey school term and are ladies only – sorry guys!

Join the tropical pop-up dance floor with N6Zumba – the dance-fitness party with a Latin twist! All levels welcome, drop in any time to start feeling the benefits of a healthier and happier lifestyle. Classes run with the Haringey school term and are ladies only – sorry guys!

Philip Diggle: “I see a red door and I want it painted black.”
Rolling Stones, Paint It Black.

Memory Theatre      The ‘memory theatre’ was an aspect of a science of the imagination which was practiced from Classical times up to the Renaissance. It was used for the development of memory, and also as a ‘mind-map’ – a connected symbolic space, often represented as a building, which spanned the imaginative or conceptual faculty.  (digital brilliance.com) Oxford Dictionaries.

Philip Diggle is inspired by philosophical ideas, and these are used to tie together the paintings on the theme of Memory Theatre in his fifth exhibition at Highgate Gallery. The ‘stage’ for Diggle’s ‘memory theatre’ is painting; it is both the forum and the activity. In painting, memories are discovered and ordered in the doing and building of the works.

Diggle’s work is vigorously physical, with encrusted surfaces thick with oil paint. In these pieces, the paint becomes the means by which memories are enclosed, caged, covered, discovered, accreted, obscured and created. In his last Highgate Gallery show, large images of heads dominated. Some of these heads exist beneath the new works, so that creation and destruction co-exist. The process is a demonstration and investigation of the persistence yet elusiveness of memory.

Vivid red paintings are almost 3-dimensional objects revealing their making and history and physicality and – as Diggle puts it – screaming ‘I’m alive’. Works in brown, metaphorical visceral battles, attest to a more desperate survival impulse – ‘I’m still here’.

A series of larger works refer to human experience within the built environment – ‘contained’ life, a ‘theatre’. In some, the figure (highly abstracted) appears at the centre of the scenes. In these, another interest of Diggle’s emerges: rhetoric. His own mark-making becomes a metaphor for the verbal play of words in public argument.

Philip’s ideas found practical focus in his art classes. Pupils were encouraged to speak, present and respond to poetry and philosophy: a critical method which built self-awareness, confidence, and sense of context. This initiative was rolled out school-wide.

Highgate Gallery open Tue-Fri 1-5; Sat 11-4; Sun 11-5. Closed Mon.
Exhibition continues until 15 February.

Philip Diggle: “I see a red door and I want it painted black.”
Rolling Stones, Paint It Black.

Memory Theatre     The ‘memory theatre’ was an aspect of a science of the imagination which was practiced from Classical times up to the Renaissance. It was used for the development of memory, and also as a ‘mind-map’ – a connected symbolic space, often represented as a building, which spanned the imaginative or conceptual faculty.
(digital brilliance.com) Oxford Dictionaries.

Philip Diggle is inspired by philosophical ideas, and these are used to tie together the paintings on the theme of Memory Theatre in his fifth exhibition at Highgate Gallery. The ‘stage’ for Diggle’s ‘memory theatre’ is painting; it is both the forum and the activity. In painting, memories are discovered and ordered in the doing and building of the works.

Diggle’s work is vigorously physical, with encrusted surfaces thick with oil paint. In these pieces, the paint becomes the means by which memories are enclosed, caged, covered, discovered, accreted, obscured and created. In his last Highgate Gallery show, large images of heads dominated. Some of these heads exist beneath the new works, so that creation and destruction co-exist. The process is a demonstration and investigation of the persistence yet elusiveness of memory.

Vivid red paintings are almost 3-dimensional objects revealing their making and history and physicality and – as Diggle puts it – screaming ‘I’m alive’. Works in brown, metaphorical visceral battles, attest to a more desperate survival impulse – ‘I’m still here’.

A series of larger works refer to human experience within the built environment – ‘contained’ life, a ‘theatre’. In some, the figure (highly abstracted) appears at the centre of the scenes. In these, another interest of Diggle’s emerges: rhetoric. His own mark-making becomes a metaphor for the verbal play of words in public argument.

Philip’s ideas found practical focus in his art classes. Pupils were encouraged to speak, present and respond to poetry and philosophy: a critical method which built self-awareness, confidence, and sense of context. This initiative was rolled out school-wide.

Highgate Gallery open Tue-Fri 1-5; Sat 11-4; Sun 11-5. Closed Mon.
Exhibition continues until 15 February.

Philip Diggle: “I see a red door and I want it painted black.”

Rolling Stones, Paint It Black. 

Memory Theatre   The ‘memory theatre’ was an aspect of a science of the imagination which was practiced from Classical times up to the Renaissance.  It was used for the development of memory, and also as a ‘mind-map’ – a connected symbolic space, often represented as a building, which spanned the imaginative or conceptual faculty.     (digital brilliance.com)  Oxford Dictionaries.

Philip Diggle is inspired by philosophical ideas, and these are used to tie together the paintings on the theme of Memory Theatre in his fifth exhibition at Highgate Gallery.  The ‘stage’ for Diggle’s ‘memory theatre’ is painting; it is both the forum and the activity.  In painting, memories are discovered and ordered in the doing and building of the works.

Diggle’s work is vigorously physical, with encrusted surfaces thick with oil paint.  In these pieces, the paint becomes the means by which memories are enclosed, caged, covered, discovered, accreted, obscured and created.  In his last Highgate Gallery show, large images of heads dominated.  Some of these heads exist beneath the new works, so that creation and destruction co-exist.  The process is a demonstration and investigation of the persistence yet elusiveness of memory.

Vivid red paintings are almost 3-dimensional objects revealing their making and history and physicality and – as Diggle puts it – screaming ‘I’m alive’.  Works in brown, metaphorical visceral battles, attest to a more desperate survival impulse – ‘I’m still here’.

A series of larger works refer to human experience within the built environment – ‘contained’ life, a ‘theatre’.  In some, the figure (highly abstracted) appears at the centre of the scenes. In these, another interest of Diggle’s emerges: rhetoric.  His own mark-making becomes a metaphor for the verbal play of words in public argument.

Philip’s ideas found practical focus in his art classes.  Pupils were encouraged to speak, present and respond to poetry and philosophy: a critical method which built self-awareness, confidence, and sense of context.  This initiative was rolled out school-wide.

Highgate Gallery open Tue-Fri 1-5; Sat 11-4; Sun 11-5.   Closed Mon.

Exhibition continues until 15 February.

mini mozart

Mini Mozart offers fun and interactive live music classes for toddlers and babies. The classes feature two or more live instruments; a clarinet, violin, flute, French horn, saxophone or trumpet with a piano accompanist. The idea of Mini Mozart is to get children actually listening, not just hearing. Children interact with our live musicians in a way that is impossible with recorded music.

It’s hard to say which will be your favourite part of the class; the warm up where the teachers introduce their instruments allowing your little one to get up close and touch the instruments, or the part where they reveal their suitcase full of fun props that will entice your child on an interactive musical adventure.

Packed with puppets, parachutes & percussion, bursting with Bach & bubbles, and flush with fairy tales and flutes; follow our rotating team of 4 teachers and their piano accompanist on a multi-sensory musical journey that will inspire your little one with instruments from every section of the orchestra.

“I couldn’t wait to get out and about after Alfie was born. Mini Mozart was perfect because it was interesting for both of us!” Claire, Mum to Alfie (aged 4 months)

Start time: 9.30am for toddlers and 10.15 for babies.

Join the tropical pop-up dance floor with N6Zumba – the dance-fitness party with a Latin twist! All levels welcome, drop in any time to start feeling the benefits of a healthier and happier lifestyle. Classes run with the Haringey school term and are ladies only – sorry guys!

The 10^th Annual Kyffin Williams Lecture: Conservation Challenges

Jenny Williamson, Easel Painting Conservator

Jenny Williamson has come to know Kyffin Williams’s pictures well through her work at galleries across Wales.  In this talk to mark Kyffin’s centenary year she will answer questions such as ‘what does an art conservator do?’ ‘what does she aim to achieve?’, ‘what techniques does she use?’ and ‘what pitfalls does she need to avoid?’

Talks take place on Mondays at 7pm in the AV Room in the Mills Centre. Refreshments, including wine, are available from 6.30 pm and afterwards.

Philip Diggle: “I see a red door and I want it painted black.”
Rolling Stones, Paint It Black.

Memory Theatre      The ‘memory theatre’ was an aspect of a science of the imagination which was practiced from Classical times up to the Renaissance. It was used for the development of memory, and also as a ‘mind-map’ – a connected symbolic space, often represented as a building, which spanned the imaginative or conceptual faculty.  (digital brilliance.com) Oxford Dictionaries.

Philip Diggle is inspired by philosophical ideas, and these are used to tie together the paintings on the theme of Memory Theatre in his fifth exhibition at Highgate Gallery. The ‘stage’ for Diggle’s ‘memory theatre’ is painting; it is both the forum and the activity. In painting, memories are discovered and ordered in the doing and building of the works.

Diggle’s work is vigorously physical, with encrusted surfaces thick with oil paint. In these pieces, the paint becomes the means by which memories are enclosed, caged, covered, discovered, accreted, obscured and created. In his last Highgate Gallery show, large images of heads dominated. Some of these heads exist beneath the new works, so that creation and destruction co-exist. The process is a demonstration and investigation of the persistence yet elusiveness of memory.

Vivid red paintings are almost 3-dimensional objects revealing their making and history and physicality and – as Diggle puts it – screaming ‘I’m alive’. Works in brown, metaphorical visceral battles, attest to a more desperate survival impulse – ‘I’m still here’.

A series of larger works refer to human experience within the built environment – ‘contained’ life, a ‘theatre’. In some, the figure (highly abstracted) appears at the centre of the scenes. In these, another interest of Diggle’s emerges: rhetoric. His own mark-making becomes a metaphor for the verbal play of words in public argument.

Philip’s ideas found practical focus in his art classes. Pupils were encouraged to speak, present and respond to poetry and philosophy: a critical method which built self-awareness, confidence, and sense of context. This initiative was rolled out school-wide.

Highgate Gallery open Tue-Fri 1-5; Sat 11-4; Sun 11-5. Closed Mon.
Exhibition continues until 15 February.

Join the tropical pop-up dance floor with N6Zumba – the dance-fitness party with a Latin twist! All levels welcome, drop in any time to start feeling the benefits of a healthier and happier lifestyle. Classes run with the Haringey school term and are ladies only – sorry guys!

Philip Diggle: “I see a red door and I want it painted black.”
Rolling Stones, Paint It Black.

Memory Theatre      The ‘memory theatre’ was an aspect of a science of the imagination which was practiced from Classical times up to the Renaissance. It was used for the development of memory, and also as a ‘mind-map’ – a connected symbolic space, often represented as a building, which spanned the imaginative or conceptual faculty.  (digital brilliance.com) Oxford Dictionaries.

Philip Diggle is inspired by philosophical ideas, and these are used to tie together the paintings on the theme of Memory Theatre in his fifth exhibition at Highgate Gallery. The ‘stage’ for Diggle’s ‘memory theatre’ is painting; it is both the forum and the activity. In painting, memories are discovered and ordered in the doing and building of the works.

Diggle’s work is vigorously physical, with encrusted surfaces thick with oil paint. In these pieces, the paint becomes the means by which memories are enclosed, caged, covered, discovered, accreted, obscured and created. In his last Highgate Gallery show, large images of heads dominated. Some of these heads exist beneath the new works, so that creation and destruction co-exist. The process is a demonstration and investigation of the persistence yet elusiveness of memory.

Vivid red paintings are almost 3-dimensional objects revealing their making and history and physicality and – as Diggle puts it – screaming ‘I’m alive’. Works in brown, metaphorical visceral battles, attest to a more desperate survival impulse – ‘I’m still here’.

A series of larger works refer to human experience within the built environment – ‘contained’ life, a ‘theatre’. In some, the figure (highly abstracted) appears at the centre of the scenes. In these, another interest of Diggle’s emerges: rhetoric. His own mark-making becomes a metaphor for the verbal play of words in public argument.

Philip’s ideas found practical focus in his art classes. Pupils were encouraged to speak, present and respond to poetry and philosophy: a critical method which built self-awareness, confidence, and sense of context. This initiative was rolled out school-wide.

Highgate Gallery open Tue-Fri 1-5; Sat 11-4; Sun 11-5. Closed Mon.
Exhibition continues until 15 February.

Philip Diggle: “I see a red door and I want it painted black.”
Rolling Stones, Paint It Black.

Memory Theatre      The ‘memory theatre’ was an aspect of a science of the imagination which was practiced from Classical times up to the Renaissance. It was used for the development of memory, and also as a ‘mind-map’ – a connected symbolic space, often represented as a building, which spanned the imaginative or conceptual faculty.  (digital brilliance.com) Oxford Dictionaries.

Philip Diggle is inspired by philosophical ideas, and these are used to tie together the paintings on the theme of Memory Theatre in his fifth exhibition at Highgate Gallery. The ‘stage’ for Diggle’s ‘memory theatre’ is painting; it is both the forum and the activity. In painting, memories are discovered and ordered in the doing and building of the works.

Diggle’s work is vigorously physical, with encrusted surfaces thick with oil paint. In these pieces, the paint becomes the means by which memories are enclosed, caged, covered, discovered, accreted, obscured and created. In his last Highgate Gallery show, large images of heads dominated. Some of these heads exist beneath the new works, so that creation and destruction co-exist. The process is a demonstration and investigation of the persistence yet elusiveness of memory.

Vivid red paintings are almost 3-dimensional objects revealing their making and history and physicality and – as Diggle puts it – screaming ‘I’m alive’. Works in brown, metaphorical visceral battles, attest to a more desperate survival impulse – ‘I’m still here’.

A series of larger works refer to human experience within the built environment – ‘contained’ life, a ‘theatre’. In some, the figure (highly abstracted) appears at the centre of the scenes. In these, another interest of Diggle’s emerges: rhetoric. His own mark-making becomes a metaphor for the verbal play of words in public argument.

Philip’s ideas found practical focus in his art classes. Pupils were encouraged to speak, present and respond to poetry and philosophy: a critical method which built self-awareness, confidence, and sense of context. This initiative was rolled out school-wide.

Highgate Gallery open Tue-Fri 1-5; Sat 11-4; Sun 11-5. Closed Mon.
Exhibition continues until 15 February.

Join the tropical pop-up dance floor with N6Zumba – the dance-fitness party with a Latin twist! All levels welcome, drop in any time to start feeling the benefits of a healthier and happier lifestyle. Classes run with the Haringey school term and are ladies only – sorry guys!

Philip Diggle: “I see a red door and I want it painted black.”
Rolling Stones, Paint It Black.

Memory Theatre      The ‘memory theatre’ was an aspect of a science of the imagination which was practiced from Classical times up to the Renaissance. It was used for the development of memory, and also as a ‘mind-map’ – a connected symbolic space, often represented as a building, which spanned the imaginative or conceptual faculty.  (digital brilliance.com) Oxford Dictionaries.

Philip Diggle is inspired by philosophical ideas, and these are used to tie together the paintings on the theme of Memory Theatre in his fifth exhibition at Highgate Gallery. The ‘stage’ for Diggle’s ‘memory theatre’ is painting; it is both the forum and the activity. In painting, memories are discovered and ordered in the doing and building of the works.

Diggle’s work is vigorously physical, with encrusted surfaces thick with oil paint. In these pieces, the paint becomes the means by which memories are enclosed, caged, covered, discovered, accreted, obscured and created. In his last Highgate Gallery show, large images of heads dominated. Some of these heads exist beneath the new works, so that creation and destruction co-exist. The process is a demonstration and investigation of the persistence yet elusiveness of memory.

Vivid red paintings are almost 3-dimensional objects revealing their making and history and physicality and – as Diggle puts it – screaming ‘I’m alive’. Works in brown, metaphorical visceral battles, attest to a more desperate survival impulse – ‘I’m still here’.

A series of larger works refer to human experience within the built environment – ‘contained’ life, a ‘theatre’. In some, the figure (highly abstracted) appears at the centre of the scenes. In these, another interest of Diggle’s emerges: rhetoric. His own mark-making becomes a metaphor for the verbal play of words in public argument.

Philip’s ideas found practical focus in his art classes. Pupils were encouraged to speak, present and respond to poetry and philosophy: a critical method which built self-awareness, confidence, and sense of context. This initiative was rolled out school-wide.

Highgate Gallery open Tue-Fri 1-5; Sat 11-4; Sun 11-5. Closed Mon.
Exhibition continues until 15 February.

Philip Diggle: “I see a red door and I want it painted black.”
Rolling Stones, Paint It Black.

Memory Theatre     The ‘memory theatre’ was an aspect of a science of the imagination which was practiced from Classical times up to the Renaissance. It was used for the development of memory, and also as a ‘mind-map’ – a connected symbolic space, often represented as a building, which spanned the imaginative or conceptual faculty.
(digital brilliance.com) Oxford Dictionaries.

Philip Diggle is inspired by philosophical ideas, and these are used to tie together the paintings on the theme of Memory Theatre in his fifth exhibition at Highgate Gallery. The ‘stage’ for Diggle’s ‘memory theatre’ is painting; it is both the forum and the activity. In painting, memories are discovered and ordered in the doing and building of the works.

Diggle’s work is vigorously physical, with encrusted surfaces thick with oil paint. In these pieces, the paint becomes the means by which memories are enclosed, caged, covered, discovered, accreted, obscured and created. In his last Highgate Gallery show, large images of heads dominated. Some of these heads exist beneath the new works, so that creation and destruction co-exist. The process is a demonstration and investigation of the persistence yet elusiveness of memory.

Vivid red paintings are almost 3-dimensional objects revealing their making and history and physicality and – as Diggle puts it – screaming ‘I’m alive’. Works in brown, metaphorical visceral battles, attest to a more desperate survival impulse – ‘I’m still here’.

A series of larger works refer to human experience within the built environment – ‘contained’ life, a ‘theatre’. In some, the figure (highly abstracted) appears at the centre of the scenes. In these, another interest of Diggle’s emerges: rhetoric. His own mark-making becomes a metaphor for the verbal play of words in public argument.

Philip’s ideas found practical focus in his art classes. Pupils were encouraged to speak, present and respond to poetry and philosophy: a critical method which built self-awareness, confidence, and sense of context. This initiative was rolled out school-wide.

Highgate Gallery open Tue-Fri 1-5; Sat 11-4; Sun 11-5. Closed Mon.
Exhibition continues until 15 February.

Philip Diggle: “I see a red door and I want it painted black.”

Rolling Stones, Paint It Black. 

Memory Theatre   The ‘memory theatre’ was an aspect of a science of the imagination which was practiced from Classical times up to the Renaissance.  It was used for the development of memory, and also as a ‘mind-map’ – a connected symbolic space, often represented as a building, which spanned the imaginative or conceptual faculty.     (digital brilliance.com)  Oxford Dictionaries.

Philip Diggle is inspired by philosophical ideas, and these are used to tie together the paintings on the theme of Memory Theatre in his fifth exhibition at Highgate Gallery.  The ‘stage’ for Diggle’s ‘memory theatre’ is painting; it is both the forum and the activity.  In painting, memories are discovered and ordered in the doing and building of the works.

Diggle’s work is vigorously physical, with encrusted surfaces thick with oil paint.  In these pieces, the paint becomes the means by which memories are enclosed, caged, covered, discovered, accreted, obscured and created.  In his last Highgate Gallery show, large images of heads dominated.  Some of these heads exist beneath the new works, so that creation and destruction co-exist.  The process is a demonstration and investigation of the persistence yet elusiveness of memory.

Vivid red paintings are almost 3-dimensional objects revealing their making and history and physicality and – as Diggle puts it – screaming ‘I’m alive’.  Works in brown, metaphorical visceral battles, attest to a more desperate survival impulse – ‘I’m still here’.

A series of larger works refer to human experience within the built environment – ‘contained’ life, a ‘theatre’.  In some, the figure (highly abstracted) appears at the centre of the scenes. In these, another interest of Diggle’s emerges: rhetoric.  His own mark-making becomes a metaphor for the verbal play of words in public argument.

Philip’s ideas found practical focus in his art classes.  Pupils were encouraged to speak, present and respond to poetry and philosophy: a critical method which built self-awareness, confidence, and sense of context.  This initiative was rolled out school-wide.

Highgate Gallery open Tue-Fri 1-5; Sat 11-4; Sun 11-5.   Closed Mon.

Exhibition continues until 15 February.

mini mozart

Mini Mozart offers fun and interactive live music classes for toddlers and babies. The classes feature two or more live instruments; a clarinet, violin, flute, French horn, saxophone or trumpet with a piano accompanist. The idea of Mini Mozart is to get children actually listening, not just hearing. Children interact with our live musicians in a way that is impossible with recorded music.

It’s hard to say which will be your favourite part of the class; the warm up where the teachers introduce their instruments allowing your little one to get up close and touch the instruments, or the part where they reveal their suitcase full of fun props that will entice your child on an interactive musical adventure.

Packed with puppets, parachutes & percussion, bursting with Bach & bubbles, and flush with fairy tales and flutes; follow our rotating team of 4 teachers and their piano accompanist on a multi-sensory musical journey that will inspire your little one with instruments from every section of the orchestra.

“I couldn’t wait to get out and about after Alfie was born. Mini Mozart was perfect because it was interesting for both of us!” Claire, Mum to Alfie (aged 4 months)

Start time: 9.30am for toddlers and 10.15 for babies.

Philip Diggle: “I see a red door and I want it painted black.”
Rolling Stones, Paint It Black.

Memory Theatre      The ‘memory theatre’ was an aspect of a science of the imagination which was practiced from Classical times up to the Renaissance. It was used for the development of memory, and also as a ‘mind-map’ – a connected symbolic space, often represented as a building, which spanned the imaginative or conceptual faculty.  (digital brilliance.com) Oxford Dictionaries.

Philip Diggle is inspired by philosophical ideas, and these are used to tie together the paintings on the theme of Memory Theatre in his fifth exhibition at Highgate Gallery. The ‘stage’ for Diggle’s ‘memory theatre’ is painting; it is both the forum and the activity. In painting, memories are discovered and ordered in the doing and building of the works.

Diggle’s work is vigorously physical, with encrusted surfaces thick with oil paint. In these pieces, the paint becomes the means by which memories are enclosed, caged, covered, discovered, accreted, obscured and created. In his last Highgate Gallery show, large images of heads dominated. Some of these heads exist beneath the new works, so that creation and destruction co-exist. The process is a demonstration and investigation of the persistence yet elusiveness of memory.

Vivid red paintings are almost 3-dimensional objects revealing their making and history and physicality and – as Diggle puts it – screaming ‘I’m alive’. Works in brown, metaphorical visceral battles, attest to a more desperate survival impulse – ‘I’m still here’.

A series of larger works refer to human experience within the built environment – ‘contained’ life, a ‘theatre’. In some, the figure (highly abstracted) appears at the centre of the scenes. In these, another interest of Diggle’s emerges: rhetoric. His own mark-making becomes a metaphor for the verbal play of words in public argument.

Philip’s ideas found practical focus in his art classes. Pupils were encouraged to speak, present and respond to poetry and philosophy: a critical method which built self-awareness, confidence, and sense of context. This initiative was rolled out school-wide.

Highgate Gallery open Tue-Fri 1-5; Sat 11-4; Sun 11-5. Closed Mon.
Exhibition continues until 15 February.

Philip Diggle: “I see a red door and I want it painted black.”
Rolling Stones, Paint It Black.

Memory Theatre      The ‘memory theatre’ was an aspect of a science of the imagination which was practiced from Classical times up to the Renaissance. It was used for the development of memory, and also as a ‘mind-map’ – a connected symbolic space, often represented as a building, which spanned the imaginative or conceptual faculty.  (digital brilliance.com) Oxford Dictionaries.

Philip Diggle is inspired by philosophical ideas, and these are used to tie together the paintings on the theme of Memory Theatre in his fifth exhibition at Highgate Gallery. The ‘stage’ for Diggle’s ‘memory theatre’ is painting; it is both the forum and the activity. In painting, memories are discovered and ordered in the doing and building of the works.

Diggle’s work is vigorously physical, with encrusted surfaces thick with oil paint. In these pieces, the paint becomes the means by which memories are enclosed, caged, covered, discovered, accreted, obscured and created. In his last Highgate Gallery show, large images of heads dominated. Some of these heads exist beneath the new works, so that creation and destruction co-exist. The process is a demonstration and investigation of the persistence yet elusiveness of memory.

Vivid red paintings are almost 3-dimensional objects revealing their making and history and physicality and – as Diggle puts it – screaming ‘I’m alive’. Works in brown, metaphorical visceral battles, attest to a more desperate survival impulse – ‘I’m still here’.

A series of larger works refer to human experience within the built environment – ‘contained’ life, a ‘theatre’. In some, the figure (highly abstracted) appears at the centre of the scenes. In these, another interest of Diggle’s emerges: rhetoric. His own mark-making becomes a metaphor for the verbal play of words in public argument.

Philip’s ideas found practical focus in his art classes. Pupils were encouraged to speak, present and respond to poetry and philosophy: a critical method which built self-awareness, confidence, and sense of context. This initiative was rolled out school-wide.

Highgate Gallery open Tue-Fri 1-5; Sat 11-4; Sun 11-5. Closed Mon.
Exhibition continues until 15 February.

This event has been cancelled! 7/2/18 Apologies for any inconvenience.

Highgate Modern Homes Wednesday 14 February 2018

Speaker John Allan
who will present works by Wells Coates, Erno Goldfinger and Berthold Lubetkin including conservation projects he has carried out in their key buildings: Isokon Apartments, Willow Road houses and Highpoint, Highgate.

At 10A South Grove 6.30 for 7pm start

Entry Free but PLEASE reserve your place here.

Philip Diggle: “I see a red door and I want it painted black.”
Rolling Stones, Paint It Black.

Memory Theatre      The ‘memory theatre’ was an aspect of a science of the imagination which was practiced from Classical times up to the Renaissance. It was used for the development of memory, and also as a ‘mind-map’ – a connected symbolic space, often represented as a building, which spanned the imaginative or conceptual faculty.  (digital brilliance.com) Oxford Dictionaries.

Philip Diggle is inspired by philosophical ideas, and these are used to tie together the paintings on the theme of Memory Theatre in his fifth exhibition at Highgate Gallery. The ‘stage’ for Diggle’s ‘memory theatre’ is painting; it is both the forum and the activity. In painting, memories are discovered and ordered in the doing and building of the works.

Diggle’s work is vigorously physical, with encrusted surfaces thick with oil paint. In these pieces, the paint becomes the means by which memories are enclosed, caged, covered, discovered, accreted, obscured and created. In his last Highgate Gallery show, large images of heads dominated. Some of these heads exist beneath the new works, so that creation and destruction co-exist. The process is a demonstration and investigation of the persistence yet elusiveness of memory.

Vivid red paintings are almost 3-dimensional objects revealing their making and history and physicality and – as Diggle puts it – screaming ‘I’m alive’. Works in brown, metaphorical visceral battles, attest to a more desperate survival impulse – ‘I’m still here’.

A series of larger works refer to human experience within the built environment – ‘contained’ life, a ‘theatre’. In some, the figure (highly abstracted) appears at the centre of the scenes. In these, another interest of Diggle’s emerges: rhetoric. His own mark-making becomes a metaphor for the verbal play of words in public argument.

Philip’s ideas found practical focus in his art classes. Pupils were encouraged to speak, present and respond to poetry and philosophy: a critical method which built self-awareness, confidence, and sense of context. This initiative was rolled out school-wide.

Highgate Gallery open Tue-Fri 1-5; Sat 11-4; Sun 11-5. Closed Mon.
Exhibition continues until 15 February.