This is London, October 1987, Black Monday. This is a tale of greed, betrayal and murder. This is Macbeth. In the City, success is all and ruthless ambition is rewarded. The only problem is, how do you control it before it consumes you and your family? Award-winning Proteus Theatre presents a highly physical re-imagining of Shakespeare’s Macbeth as a corporate thriller which explores the pressures faced by first-generation British-born children of immigrants, set against the background of the ‘greed is good’ corporate landscape of 1980s Britain.
Rucksack music at Jacksons Lane.
Email: admin@jacksonslane.org.uk
Fridays and Wednesdays 10.15-11.15am.
Come and enjoy a relaxed, interactive guided musical session for children & their adults (parents/carers). Expect nursery rhymes, popular songs & movement, with small percussion instruments to play and live guitar accompaniment. Lots of singing, stomping, clapping, wriggling, just having a good time. Learning through enjoyment. Classes are 1 hour with a break. Tutor is jazz musician Faye Patton.
Suitable for children 0 – 4 years old.
NO NEED TO BOOK – JUST DROP IN!
£5.00 per child/£3.50 siblings
For more information – www.rucksackmusic.co.uk
This is London, October 1987, Black Monday. This is a tale of greed, betrayal and murder. This is Macbeth. In the City, success is all and ruthless ambition is rewarded. The only problem is, how do you control it before it consumes you and your family? Award-winning Proteus Theatre presents a highly physical re-imagining of Shakespeare’s Macbeth as a corporate thriller which explores the pressures faced by first-generation British-born children of immigrants, set against the background of the ‘greed is good’ corporate landscape of 1980s Britain.
Children’s book fair, with added Bear Hunt, on Saturday 23 March, 10-1. Celebrating 30 Years of Michael Rosen’s & Helen Oxenbury’s We’re going on a Bear Hunt with our own Bear Hunts at 10.15, 10.45, 11.15, 11.45, 12.15. For more information or to book now for a Bear Hunt tel 020 8340 3343 or email librarian@hlsi.net
ADMISSION FREE BUT BOOKING ESSENTIAL FOR BEAR HUNT
Ideal for 3-6 year olds
Also: children’s activities, refreshments, face-painting, second-hand books & Muswell Hill Children’s Bookshop
Drawing from circus, stand-up and live art, Contra is an autobiographical solo cabaret of contradictions. Using a rope and a roll of cling film, Laura Murphy sets her experiences of her own body amidst an anecdotal tapestry of body hair observations on public transport and dinner table discussions about lesbian sex. Dark, witty and uncompromising, Contra interrogates personal, social and historical occupations with the female body, and explores where such bodies are positioned and how we’re meant to look at them. Expect nudity and explicit references to female sexuality and mythical reptiles.
Supported by Jacksons Lane.
Age guidance: 16+
Sun 24 Mar, 12pm & 3pm
The Noisy Animals can’t wait for their dream holidays. Kid Carpet just wants them all to stick together – but how can he keep everyone happy when he can’t even get them in the car? Kid Carpet, the UK’s finest creator of nonsense music and rock’n’roll theatre shows, mixes live music, theatre, comedy, puppetry, animation, flying tents and diving bears to tell a mischievous and energetic story of going on your holidays.
Duration: 55m
Age guidance: 3+
Rucksack music at Jacksons Lane.
Email: admin@jacksonslane.org.uk
Wednesdays and Fridays 10.15-11.15am.
Come and enjoy a relaxed, interactive guided musical session for children & their adults (parents/carers). Expect nursery rhymes, popular songs & movement, with small percussion instruments to play and live guitar accompaniment. Lots of singing, stomping, clapping, wriggling, just having a good time. Learning through enjoyment. Classes are 1 hour with a break. Tutor is jazz musician Faye Patton.
Suitable for children 0 – 4 years old.
NO NEED TO BOOK – JUST DROP IN!
£5.00 per child/£3.50 siblings
For more information – www.rucksackmusic.co.uk
Gandini Juggling teams up with breakout stars Chris Patfield and Jose Triguero for Gibbon, a surreal and charming feast of juggling choreography with a wicked sense of humour and a hint of the surreal. Taking inspiration from the worlds of dance and physical theatre, Gibbon perfectly combines technical skill and performance chemistry. Achieving success through failure, two world-leading jugglers cut between the creation and execution of hypnotic patterns and devastatingly slick movement sequences.
Supported by Jacksons Lane.
Age guidance: 8+
Weekly drop-in Hatha yoga classes suitable for all levels, beginners welcome. Come and practice some lovely postures in a safe environment that will leave you feeling uplifted and refreshed. I am certified by the British Wheel of Yoga (BWY) and classes include a mixture of pranayama, postures and relaxation with focus on correct alignment. The steady flow of postures will improve your strength and flexibility. Mats, blocks and bricks provided or you are welcome to bring your own.
*Email me to book your place and receive your first class FREE*
A fast-paced mixed repertory of dance theatre with intricate lyrical choreography, athleticism and wry humour, Mapdance brings together renowned and upcoming contemporary choreographers. Mapdance is an established and exciting company of young, dynamic dancers recruited nationally and internationally. Featuring new works specially commissioned from Company Chameleon’s Anthony Missen, Didy Veldman and Jose Agudo, as well as a restaging of Liz Aggiss’s History Repeating…, the performance will appeal equally to dance aficionados and audiences new to the form.
Age guidance: 10+
Rucksack music at Jacksons Lane.
Email: admin@jacksonslane.org.uk
Fridays and Wednesdays 10.15-11.15am.
Come and enjoy a relaxed, interactive guided musical session for children & their adults (parents/carers). Expect nursery rhymes, popular songs & movement, with small percussion instruments to play and live guitar accompaniment. Lots of singing, stomping, clapping, wriggling, just having a good time. Learning through enjoyment. Classes are 1 hour with a break. Tutor is jazz musician Faye Patton.
Suitable for children 0 – 4 years old.
NO NEED TO BOOK – JUST DROP IN!
£5.00 per child/£3.50 siblings
For more information – www.rucksackmusic.co.uk
Crossing16.05.2016
The fallibility of longitudinal memory and the memory of fleeting everyday experiences make up the two different parts of this exhibition. What do we keep of our lives, is this a reminder to ourselves and how much is it how we want others to remember us? The first is subject to self-selection and the second to the fallibility of others’ interpretation. Both play on the material in this first part of this exhibition.
Helen de Mouilpied was born in 1914 and died in 1987. Thirty years later the material she kept about herself is presented by the artist through his own memories. The viewer’s interpretation will confer significance to these memories. Why was this material kept and other items discarded? What has determined the selection from the material for this exhibition? How does this material trigger our own ways of remembering?
The first part of this exhibition is made up of diaries, photos, letters and other physical memories. Displayed chronologically it makes up the substance of one remembered life.
The second part of the exhibition is the culmination of a photographic project in Hackney. Fleeting interactions are committed to photographic memory. The same photograph was taken every day for a year, but not at the same time of day. The photographer (the artist) was not in Hackney every day; it took nearly eighteen months to accrue 365 photos. These are displayed in the form of a slide show: Hackney Crossing 365. The momentary memory of that instant has been captured through photographs, drawings, painting and lithographs.
The passing of time, observing everyday street scenes and surveillance have been recurrent themes in Adam Forman’s work; travel scenes in Imminent Public Spaces (2006) and the CCTV Series (2010). Being watched, watching and observing are ever present in these images, as is the act of clandestine photography on the closely observed crossing.
Much of the work in the exhibition is for sale. Open Tues-Fri 1-5, Sat 11-4, Sun 11-5; closed Mon. Exhibition continues until 11 April.
Crossing16.05.2016
The fallibility of longitudinal memory and the memory of fleeting everyday experiences make up the two different parts of this exhibition. What do we keep of our lives, is this a reminder to ourselves and how much is it how we want others to remember us? The first is subject to self-selection and the second to the fallibility of others’ interpretation. Both play on the material in this first part of this exhibition.
Helen de Mouilpied was born in 1914 and died in 1987. Thirty years later the material she kept about herself is presented by the artist through his own memories. The viewer’s interpretation will confer significance to these memories. Why was this material kept and other items discarded? What has determined the selection from the material for this exhibition? How does this material trigger our own ways of remembering?
The first part of this exhibition is made up of diaries, photos, letters and other physical memories. Displayed chronologically it makes up the substance of one remembered life.
The second part of the exhibition is the culmination of a photographic project in Hackney. Fleeting interactions are committed to photographic memory. The same photograph was taken every day for a year, but not at the same time of day. The photographer (the artist) was not in Hackney every day; it took nearly eighteen months to accrue 365 photos. These are displayed in the form of a slide show: Hackney Crossing 365. The momentary memory of that instant has been captured through photographs, drawings, painting and lithographs.
The passing of time, observing everyday street scenes and surveillance have been recurrent themes in Adam Forman’s work; travel scenes in Imminent Public Spaces (2006) and the CCTV Series (2010). Being watched, watching and observing are ever present in these images, as is the act of clandestine photography on the closely observed crossing.
Much of the work in the exhibition is for sale. Open Tues-Fri 1-5, Sat 11-4, Sun 11-5; closed Mon. Exhibition continues until 11 April.
The fallibility of longitudinal memory and the memory of fleeting everyday experiences make up the two different parts of this exhibition. What do we keep of our lives, is this a reminder to ourselves and how much is it how we want others to remember us? The first is subject to self-selection and the second to the fallibility of others’ interpretation. Both play on the material in this first part of this exhibition.
Helen de Mouilpied was born in 1914 and died in 1987. Thirty years later the material she kept about herself is presented by the artist through his own memories. The viewer’s interpretation will confer significance to these memories. Why was this material kept and other items discarded? What has determined the selection from the material for this exhibition? How does this material trigger our own ways of remembering?
The first part of this exhibition is made up of diaries, photos, letters and other physical memories. Displayed chronologically it makes up the substance of one remembered life.
The second part of the exhibition is the culmination of a photographic project in Hackney. Fleeting interactions are committed to photographic memory. The same photograph was taken every day for a year, but not at the same time of day. The photographer (the artist) was not in Hackney every day; it took nearly eighteen months to accrue 365 photos. These are displayed in the form of a slide show: Hackney Crossing 365. The momentary memory of that instant has been captured through photographs, drawings, painting and lithographs.
The passing of time, observing everyday street scenes and surveillance have been recurrent themes in Adam Forman’s work; travel scenes in Imminent Public Spaces (2006) and the CCTV Series (2010). Being watched, watching and observing are ever present in these images, as is the act of clandestine photography on the closely observed crossing.
Much of the work in the exhibition is for sale. Open Tues-Fri 1-5, Sat 11-4, Sun 11-5; closed Mon. Exhibition continues until 11 April.
Britain’s leading mask theatre company Vamos returns to Jacksons Lane with its powerful, compassionate production about the life of a soldier after returning from combat. Ryan is in Afghanistan to see the world, learn a trade, get a life. Training is complete, combat is a buzz: he’s part of a team. But on one particular tour of duty Ryan sees things he can’t talk about – and when he returns home, the trouble really begins. Created from two years of research with former and serving soldiers, families and health professionals, A Brave Face explores post-traumatic stress in the military, an unseen and often unrecognised injury of war told through Vamos’s trademark wordless, full-mask style.
Duration: 1h 15m
Age guidance: 12+
Crossing16.05.2016
The fallibility of longitudinal memory and the memory of fleeting everyday experiences make up the two different parts of this exhibition. What do we keep of our lives, is this a reminder to ourselves and how much is it how we want others to remember us? The first is subject to self-selection and the second to the fallibility of others’ interpretation. Both play on the material in this first part of this exhibition.
Helen de Mouilpied was born in 1914 and died in 1987. Thirty years later the material she kept about herself is presented by the artist through his own memories. The viewer’s interpretation will confer significance to these memories. Why was this material kept and other items discarded? What has determined the selection from the material for this exhibition? How does this material trigger our own ways of remembering?
The first part of this exhibition is made up of diaries, photos, letters and other physical memories. Displayed chronologically it makes up the substance of one remembered life.
The second part of the exhibition is the culmination of a photographic project in Hackney. Fleeting interactions are committed to photographic memory. The same photograph was taken every day for a year, but not at the same time of day. The photographer (the artist) was not in Hackney every day; it took nearly eighteen months to accrue 365 photos. These are displayed in the form of a slide show: Hackney Crossing 365. The momentary memory of that instant has been captured through photographs, drawings, painting and lithographs.
The passing of time, observing everyday street scenes and surveillance have been recurrent themes in Adam Forman’s work; travel scenes in Imminent Public Spaces (2006) and the CCTV Series (2010). Being watched, watching and observing are ever present in these images, as is the act of clandestine photography on the closely observed crossing.
Much of the work in the exhibition is for sale. Open Tues-Fri 1-5, Sat 11-4, Sun 11-5; closed Mon. Exhibition continues until 11 April.
Britain’s leading mask theatre company Vamos returns to Jacksons Lane with its powerful, compassionate production about the life of a soldier after returning from combat. Ryan is in Afghanistan to see the world, learn a trade, get a life. Training is complete, combat is a buzz: he’s part of a team. But on one particular tour of duty Ryan sees things he can’t talk about – and when he returns home, the trouble really begins. Created from two years of research with former and serving soldiers, families and health professionals, A Brave Face explores post-traumatic stress in the military, an unseen and often unrecognised injury of war told through Vamos’s trademark wordless, full-mask style.
Duration: 1h 15m
Age guidance: 12+
Rucksack music at Jacksons Lane.
Email: admin@jacksonslane.org.uk
Wednesdays and Fridays 10.15-11.15am.
Come and enjoy a relaxed, interactive guided musical session for children & their adults (parents/carers). Expect nursery rhymes, popular songs & movement, with small percussion instruments to play and live guitar accompaniment. Lots of singing, stomping, clapping, wriggling, just having a good time. Learning through enjoyment. Classes are 1 hour with a break. Tutor is jazz musician Faye Patton.
Suitable for children 0 – 4 years old.
NO NEED TO BOOK – JUST DROP IN!
£5.00 per child/£3.50 siblings
For more information – www.rucksackmusic.co.uk
Crossing16.05.2016
The fallibility of longitudinal memory and the memory of fleeting everyday experiences make up the two different parts of this exhibition. What do we keep of our lives, is this a reminder to ourselves and how much is it how we want others to remember us? The first is subject to self-selection and the second to the fallibility of others’ interpretation. Both play on the material in this first part of this exhibition.
Helen de Mouilpied was born in 1914 and died in 1987. Thirty years later the material she kept about herself is presented by the artist through his own memories. The viewer’s interpretation will confer significance to these memories. Why was this material kept and other items discarded? What has determined the selection from the material for this exhibition? How does this material trigger our own ways of remembering?
The first part of this exhibition is made up of diaries, photos, letters and other physical memories. Displayed chronologically it makes up the substance of one remembered life.
The second part of the exhibition is the culmination of a photographic project in Hackney. Fleeting interactions are committed to photographic memory. The same photograph was taken every day for a year, but not at the same time of day. The photographer (the artist) was not in Hackney every day; it took nearly eighteen months to accrue 365 photos. These are displayed in the form of a slide show: Hackney Crossing 365. The momentary memory of that instant has been captured through photographs, drawings, painting and lithographs.
The passing of time, observing everyday street scenes and surveillance have been recurrent themes in Adam Forman’s work; travel scenes in Imminent Public Spaces (2006) and the CCTV Series (2010). Being watched, watching and observing are ever present in these images, as is the act of clandestine photography on the closely observed crossing.
Much of the work in the exhibition is for sale. Open Tues-Fri 1-5, Sat 11-4, Sun 11-5; closed Mon. Exhibition continues until 11 April.
Britain’s leading mask theatre company Vamos returns to Jacksons Lane with its powerful, compassionate production about the life of a soldier after returning from combat. Ryan is in Afghanistan to see the world, learn a trade, get a life. Training is complete, combat is a buzz: he’s part of a team. But on one particular tour of duty Ryan sees things he can’t talk about – and when he returns home, the trouble really begins. Created from two years of research with former and serving soldiers, families and health professionals, A Brave Face explores post-traumatic stress in the military, an unseen and often unrecognised injury of war told through Vamos’s trademark wordless, full-mask style.
Duration: 1h 15m
Age guidance: 12+
Weekly drop-in Hatha yoga classes suitable for all levels, beginners welcome. Come and practice some lovely postures in a safe environment that will leave you feeling uplifted and refreshed. I am certified by the British Wheel of Yoga (BWY) and classes include a mixture of pranayama, postures and relaxation with focus on correct alignment. The steady flow of postures will improve your strength and flexibility. Mats, blocks and bricks provided or you are welcome to bring your own.
*Email me to book your place and receive your first class FREE*
Crossing16.05.2016
The fallibility of longitudinal memory and the memory of fleeting everyday experiences make up the two different parts of this exhibition. What do we keep of our lives, is this a reminder to ourselves and how much is it how we want others to remember us? The first is subject to self-selection and the second to the fallibility of others’ interpretation. Both play on the material in this first part of this exhibition.
Helen de Mouilpied was born in 1914 and died in 1987. Thirty years later the material she kept about herself is presented by the artist through his own memories. The viewer’s interpretation will confer significance to these memories. Why was this material kept and other items discarded? What has determined the selection from the material for this exhibition? How does this material trigger our own ways of remembering?
The first part of this exhibition is made up of diaries, photos, letters and other physical memories. Displayed chronologically it makes up the substance of one remembered life.
The second part of the exhibition is the culmination of a photographic project in Hackney. Fleeting interactions are committed to photographic memory. The same photograph was taken every day for a year, but not at the same time of day. The photographer (the artist) was not in Hackney every day; it took nearly eighteen months to accrue 365 photos. These are displayed in the form of a slide show: Hackney Crossing 365. The momentary memory of that instant has been captured through photographs, drawings, painting and lithographs.
The passing of time, observing everyday street scenes and surveillance have been recurrent themes in Adam Forman’s work; travel scenes in Imminent Public Spaces (2006) and the CCTV Series (2010). Being watched, watching and observing are ever present in these images, as is the act of clandestine photography on the closely observed crossing.
Much of the work in the exhibition is for sale. Open Tues-Fri 1-5, Sat 11-4, Sun 11-5; closed Mon. Exhibition continues until 11 April.
Rucksack music at Jacksons Lane.
Email: admin@jacksonslane.org.uk
Fridays and Wednesdays 10.15-11.15am.
Come and enjoy a relaxed, interactive guided musical session for children & their adults (parents/carers). Expect nursery rhymes, popular songs & movement, with small percussion instruments to play and live guitar accompaniment. Lots of singing, stomping, clapping, wriggling, just having a good time. Learning through enjoyment. Classes are 1 hour with a break. Tutor is jazz musician Faye Patton.
Suitable for children 0 – 4 years old.
NO NEED TO BOOK – JUST DROP IN!
£5.00 per child/£3.50 siblings
For more information – www.rucksackmusic.co.uk
Crossing16.05.2016
The fallibility of longitudinal memory and the memory of fleeting everyday experiences make up the two different parts of this exhibition. What do we keep of our lives, is this a reminder to ourselves and how much is it how we want others to remember us? The first is subject to self-selection and the second to the fallibility of others’ interpretation. Both play on the material in this first part of this exhibition.
Helen de Mouilpied was born in 1914 and died in 1987. Thirty years later the material she kept about herself is presented by the artist through his own memories. The viewer’s interpretation will confer significance to these memories. Why was this material kept and other items discarded? What has determined the selection from the material for this exhibition? How does this material trigger our own ways of remembering?
The first part of this exhibition is made up of diaries, photos, letters and other physical memories. Displayed chronologically it makes up the substance of one remembered life.
The second part of the exhibition is the culmination of a photographic project in Hackney. Fleeting interactions are committed to photographic memory. The same photograph was taken every day for a year, but not at the same time of day. The photographer (the artist) was not in Hackney every day; it took nearly eighteen months to accrue 365 photos. These are displayed in the form of a slide show: Hackney Crossing 365. The momentary memory of that instant has been captured through photographs, drawings, painting and lithographs.
The passing of time, observing everyday street scenes and surveillance have been recurrent themes in Adam Forman’s work; travel scenes in Imminent Public Spaces (2006) and the CCTV Series (2010). Being watched, watching and observing are ever present in these images, as is the act of clandestine photography on the closely observed crossing.
Much of the work in the exhibition is for sale. Open Tues-Fri 1-5, Sat 11-4, Sun 11-5; closed Mon. Exhibition continues until 11 April.
Crossing16.05.2016
The fallibility of longitudinal memory and the memory of fleeting everyday experiences make up the two different parts of this exhibition. What do we keep of our lives, is this a reminder to ourselves and how much is it how we want others to remember us? The first is subject to self-selection and the second to the fallibility of others’ interpretation. Both play on the material in this first part of this exhibition.
Helen de Mouilpied was born in 1914 and died in 1987. Thirty years later the material she kept about herself is presented by the artist through his own memories. The viewer’s interpretation will confer significance to these memories. Why was this material kept and other items discarded? What has determined the selection from the material for this exhibition? How does this material trigger our own ways of remembering?
The first part of this exhibition is made up of diaries, photos, letters and other physical memories. Displayed chronologically it makes up the substance of one remembered life.
The second part of the exhibition is the culmination of a photographic project in Hackney. Fleeting interactions are committed to photographic memory. The same photograph was taken every day for a year, but not at the same time of day. The photographer (the artist) was not in Hackney every day; it took nearly eighteen months to accrue 365 photos. These are displayed in the form of a slide show: Hackney Crossing 365. The momentary memory of that instant has been captured through photographs, drawings, painting and lithographs.
The passing of time, observing everyday street scenes and surveillance have been recurrent themes in Adam Forman’s work; travel scenes in Imminent Public Spaces (2006) and the CCTV Series (2010). Being watched, watching and observing are ever present in these images, as is the act of clandestine photography on the closely observed crossing.
Much of the work in the exhibition is for sale. Open Tues-Fri 1-5, Sat 11-4, Sun 11-5; closed Mon. Exhibition continues until 11 April.
Jacksons Lane’s Tilted returns following a sell-out show in Autumn 2018, presenting the circus world’s rising talents and accomplished veterans in a raw, energetic and dazzlingly fun scratch night. Catch the early stages of brand new shows by our favourite artists, performing a dazzling array of disciplines in the air and on the ground.
Duration: 2h
Age guidance: 12+
The fallibility of longitudinal memory and the memory of fleeting everyday experiences make up the two different parts of this exhibition. What do we keep of our lives, is this a reminder to ourselves and how much is it how we want others to remember us? The first is subject to self-selection and the second to the fallibility of others’ interpretation. Both play on the material in this first part of this exhibition.
Helen de Mouilpied was born in 1914 and died in 1987. Thirty years later the material she kept about herself is presented by the artist through his own memories. The viewer’s interpretation will confer significance to these memories. Why was this material kept and other items discarded? What has determined the selection from the material for this exhibition? How does this material trigger our own ways of remembering?
The first part of this exhibition is made up of diaries, photos, letters and other physical memories. Displayed chronologically it makes up the substance of one remembered life.
The second part of the exhibition is the culmination of a photographic project in Hackney. Fleeting interactions are committed to photographic memory. The same photograph was taken every day for a year, but not at the same time of day. The photographer (the artist) was not in Hackney every day; it took nearly eighteen months to accrue 365 photos. These are displayed in the form of a slide show: Hackney Crossing 365. The momentary memory of that instant has been captured through photographs, drawings, painting and lithographs.
The passing of time, observing everyday street scenes and surveillance have been recurrent themes in Adam Forman’s work; travel scenes in Imminent Public Spaces (2006) and the CCTV Series (2010). Being watched, watching and observing are ever present in these images, as is the act of clandestine photography on the closely observed crossing.
Much of the work in the exhibition is for sale. Open Tues-Fri 1-5, Sat 11-4, Sun 11-5; closed Mon. Exhibition continues until 11 April.
Crossing16.05.2016
The fallibility of longitudinal memory and the memory of fleeting everyday experiences make up the two different parts of this exhibition. What do we keep of our lives, is this a reminder to ourselves and how much is it how we want others to remember us? The first is subject to self-selection and the second to the fallibility of others’ interpretation. Both play on the material in this first part of this exhibition.
Helen de Mouilpied was born in 1914 and died in 1987. Thirty years later the material she kept about herself is presented by the artist through his own memories. The viewer’s interpretation will confer significance to these memories. Why was this material kept and other items discarded? What has determined the selection from the material for this exhibition? How does this material trigger our own ways of remembering?
The first part of this exhibition is made up of diaries, photos, letters and other physical memories. Displayed chronologically it makes up the substance of one remembered life.
The second part of the exhibition is the culmination of a photographic project in Hackney. Fleeting interactions are committed to photographic memory. The same photograph was taken every day for a year, but not at the same time of day. The photographer (the artist) was not in Hackney every day; it took nearly eighteen months to accrue 365 photos. These are displayed in the form of a slide show: Hackney Crossing 365. The momentary memory of that instant has been captured through photographs, drawings, painting and lithographs.
The passing of time, observing everyday street scenes and surveillance have been recurrent themes in Adam Forman’s work; travel scenes in Imminent Public Spaces (2006) and the CCTV Series (2010). Being watched, watching and observing are ever present in these images, as is the act of clandestine photography on the closely observed crossing.
Much of the work in the exhibition is for sale. Open Tues-Fri 1-5, Sat 11-4, Sun 11-5; closed Mon. Exhibition continues until 11 April.
The highly anticipated UK and European Premiere of Off-Broadway smash-hit comedy musical The Marvelous Wonderettes is being produced at Upstairs at the Gatehouse, Highgate Village, from 9 April until 12 May 2019, with Press Night on 11 April 2019 at 7.30pm.
Written and created by Roger Bean, the multi-award winning show opened in New York at the Waterside Theatre in 2008 to outstanding critical acclaim. It takes a cotton-candied musical trip down memory lane to the 1958 Springfield High School Prom, where we meet The Wonderettes: four girls with hopes and dreams as big as their crinoline skirts. The show follows their lives and loves from Prom Night to their 10-year Reunion.
This musical features over thirty hit songs from the 1950s and 1960s by artists such as Aretha Franklin, Neil Sedaka, Connie Francis and Dusty Springfield, including “Stupid Cupid”, “Son of a Preacher Man”, “I Only Wanna be with You”, “Secret Love”, “Lipstick on your Collar”, “Respect”, “Rescue Me”, “Dream Lover” and “Heatwave”.
Casting and Creative Team to be announced. The production is produced by Joseph Hodges Entertainment.
Tickets are now on sale from the Box Office at Upstairs at the Gatehouse on 020 8340 3488 or online at www.upstairsatthegatehouse.com. Performances run Tuesday to Saturday at 7.30pm and Sunday at 4.00pm.
You can find The Marvelous Wonderettes on Twitter, Instagram and Facebook at @WonderettesLDN.
Rucksack music at Jacksons Lane.
Email: admin@jacksonslane.org.uk
Wednesdays and Fridays 10.15-11.15am.
Come and enjoy a relaxed, interactive guided musical session for children & their adults (parents/carers). Expect nursery rhymes, popular songs & movement, with small percussion instruments to play and live guitar accompaniment. Lots of singing, stomping, clapping, wriggling, just having a good time. Learning through enjoyment. Classes are 1 hour with a break. Tutor is jazz musician Faye Patton.
Suitable for children 0 – 4 years old.
NO NEED TO BOOK – JUST DROP IN!
£5.00 per child/£3.50 siblings
For more information – www.rucksackmusic.co.uk
Crossing16.05.2016
The fallibility of longitudinal memory and the memory of fleeting everyday experiences make up the two different parts of this exhibition. What do we keep of our lives, is this a reminder to ourselves and how much is it how we want others to remember us? The first is subject to self-selection and the second to the fallibility of others’ interpretation. Both play on the material in this first part of this exhibition.
Helen de Mouilpied was born in 1914 and died in 1987. Thirty years later the material she kept about herself is presented by the artist through his own memories. The viewer’s interpretation will confer significance to these memories. Why was this material kept and other items discarded? What has determined the selection from the material for this exhibition? How does this material trigger our own ways of remembering?
The first part of this exhibition is made up of diaries, photos, letters and other physical memories. Displayed chronologically it makes up the substance of one remembered life.
The second part of the exhibition is the culmination of a photographic project in Hackney. Fleeting interactions are committed to photographic memory. The same photograph was taken every day for a year, but not at the same time of day. The photographer (the artist) was not in Hackney every day; it took nearly eighteen months to accrue 365 photos. These are displayed in the form of a slide show: Hackney Crossing 365. The momentary memory of that instant has been captured through photographs, drawings, painting and lithographs.
The passing of time, observing everyday street scenes and surveillance have been recurrent themes in Adam Forman’s work; travel scenes in Imminent Public Spaces (2006) and the CCTV Series (2010). Being watched, watching and observing are ever present in these images, as is the act of clandestine photography on the closely observed crossing.
Much of the work in the exhibition is for sale. Open Tues-Fri 1-5, Sat 11-4, Sun 11-5; closed Mon. Exhibition continues until 11 April.
The highly anticipated UK and European Premiere of Off-Broadway smash-hit comedy musical The Marvelous Wonderettes is being produced at Upstairs at the Gatehouse, Highgate Village, from 9 April until 12 May 2019, with Press Night on 11 April 2019 at 7.30pm.
Written and created by Roger Bean, the multi-award winning show opened in New York at the Waterside Theatre in 2008 to outstanding critical acclaim. It takes a cotton-candied musical trip down memory lane to the 1958 Springfield High School Prom, where we meet The Wonderettes: four girls with hopes and dreams as big as their crinoline skirts. The show follows their lives and loves from Prom Night to their 10-year Reunion.
This musical features over thirty hit songs from the 1950s and 1960s by artists such as Aretha Franklin, Neil Sedaka, Connie Francis and Dusty Springfield, including “Stupid Cupid”, “Son of a Preacher Man”, “I Only Wanna be with You”, “Secret Love”, “Lipstick on your Collar”, “Respect”, “Rescue Me”, “Dream Lover” and “Heatwave”.
Casting and Creative Team to be announced. The production is produced by Joseph Hodges Entertainment.
Tickets are now on sale from the Box Office at Upstairs at the Gatehouse on 020 8340 3488 or online at www.upstairsatthegatehouse.com. Performances run Tuesday to Saturday at 7.30pm and Sunday at 4.00pm.
You can find The Marvelous Wonderettes on Twitter, Instagram and Facebook at @WonderettesLDN.
Weekly drop-in Hatha yoga classes suitable for all levels, beginners welcome. Come and practice some lovely postures in a safe environment that will leave you feeling uplifted and refreshed. I am certified by the British Wheel of Yoga (BWY) and classes include a mixture of pranayama, postures and relaxation with focus on correct alignment. The steady flow of postures will improve your strength and flexibility. Mats, blocks and bricks provided or you are welcome to bring your own.
*Email me to book your place and receive your first class FREE*
Crossing16.05.2016
The fallibility of longitudinal memory and the memory of fleeting everyday experiences make up the two different parts of this exhibition. What do we keep of our lives, is this a reminder to ourselves and how much is it how we want others to remember us? The first is subject to self-selection and the second to the fallibility of others’ interpretation. Both play on the material in this first part of this exhibition.
Helen de Mouilpied was born in 1914 and died in 1987. Thirty years later the material she kept about herself is presented by the artist through his own memories. The viewer’s interpretation will confer significance to these memories. Why was this material kept and other items discarded? What has determined the selection from the material for this exhibition? How does this material trigger our own ways of remembering?
The first part of this exhibition is made up of diaries, photos, letters and other physical memories. Displayed chronologically it makes up the substance of one remembered life.
The second part of the exhibition is the culmination of a photographic project in Hackney. Fleeting interactions are committed to photographic memory. The same photograph was taken every day for a year, but not at the same time of day. The photographer (the artist) was not in Hackney every day; it took nearly eighteen months to accrue 365 photos. These are displayed in the form of a slide show: Hackney Crossing 365. The momentary memory of that instant has been captured through photographs, drawings, painting and lithographs.
The passing of time, observing everyday street scenes and surveillance have been recurrent themes in Adam Forman’s work; travel scenes in Imminent Public Spaces (2006) and the CCTV Series (2010). Being watched, watching and observing are ever present in these images, as is the act of clandestine photography on the closely observed crossing.
Much of the work in the exhibition is for sale. Open Tues-Fri 1-5, Sat 11-4, Sun 11-5; closed Mon. Exhibition continues until 11 April.
The highly anticipated UK and European Premiere of Off-Broadway smash-hit comedy musical The Marvelous Wonderettes is being produced at Upstairs at the Gatehouse, Highgate Village, from 9 April until 12 May 2019, with Press Night on 11 April 2019 at 7.30pm.
Written and created by Roger Bean, the multi-award winning show opened in New York at the Waterside Theatre in 2008 to outstanding critical acclaim. It takes a cotton-candied musical trip down memory lane to the 1958 Springfield High School Prom, where we meet The Wonderettes: four girls with hopes and dreams as big as their crinoline skirts. The show follows their lives and loves from Prom Night to their 10-year Reunion.
This musical features over thirty hit songs from the 1950s and 1960s by artists such as Aretha Franklin, Neil Sedaka, Connie Francis and Dusty Springfield, including “Stupid Cupid”, “Son of a Preacher Man”, “I Only Wanna be with You”, “Secret Love”, “Lipstick on your Collar”, “Respect”, “Rescue Me”, “Dream Lover” and “Heatwave”.
Casting and Creative Team to be announced. The production is produced by Joseph Hodges Entertainment.
Tickets are now on sale from the Box Office at Upstairs at the Gatehouse on 020 8340 3488 or online at www.upstairsatthegatehouse.com. Performances run Tuesday to Saturday at 7.30pm and Sunday at 4.00pm.
You can find The Marvelous Wonderettes on Twitter, Instagram and Facebook at @WonderettesLDN.
Rucksack music at Jacksons Lane.
Email: admin@jacksonslane.org.uk
Fridays and Wednesdays 10.15-11.15am.
Come and enjoy a relaxed, interactive guided musical session for children & their adults (parents/carers). Expect nursery rhymes, popular songs & movement, with small percussion instruments to play and live guitar accompaniment. Lots of singing, stomping, clapping, wriggling, just having a good time. Learning through enjoyment. Classes are 1 hour with a break. Tutor is jazz musician Faye Patton.
Suitable for children 0 – 4 years old.
NO NEED TO BOOK – JUST DROP IN!
£5.00 per child/£3.50 siblings
For more information – www.rucksackmusic.co.uk
Handmade In Highgate , the Spring Fair is back! Featuring 30 of the UK’s brightest and best designer/makers. Entrance is FREE.
We are open:
Friday 12 April: 12pm – 8pm
Saturday 13 April 10am – 6pm
Sunday 14 April 11am – 5pm
The highly anticipated UK and European Premiere of Off-Broadway smash-hit comedy musical The Marvelous Wonderettes is being produced at Upstairs at the Gatehouse, Highgate Village, from 9 April until 12 May 2019, with Press Night on 11 April 2019 at 7.30pm.
Written and created by Roger Bean, the multi-award winning show opened in New York at the Waterside Theatre in 2008 to outstanding critical acclaim. It takes a cotton-candied musical trip down memory lane to the 1958 Springfield High School Prom, where we meet The Wonderettes: four girls with hopes and dreams as big as their crinoline skirts. The show follows their lives and loves from Prom Night to their 10-year Reunion.
This musical features over thirty hit songs from the 1950s and 1960s by artists such as Aretha Franklin, Neil Sedaka, Connie Francis and Dusty Springfield, including “Stupid Cupid”, “Son of a Preacher Man”, “I Only Wanna be with You”, “Secret Love”, “Lipstick on your Collar”, “Respect”, “Rescue Me”, “Dream Lover” and “Heatwave”.
Casting and Creative Team to be announced. The production is produced by Joseph Hodges Entertainment.
Tickets are now on sale from the Box Office at Upstairs at the Gatehouse on 020 8340 3488 or online at www.upstairsatthegatehouse.com. Performances run Tuesday to Saturday at 7.30pm and Sunday at 4.00pm.
You can find The Marvelous Wonderettes on Twitter, Instagram and Facebook at @WonderettesLDN.
Handmade In Highgate , the Spring Fair is back! Featuring 30 of the UK’s brightest and best designer/makers. Entrance is FREE.
We are open:
Friday 12 April: 12pm – 8pm
Saturday 13 April 10am – 6pm
Sunday 14 April 11am – 5pm