Highgate Watercolour Group Autumn Show, Lauderdale
House, Mon-Fri, 11am-4pm; Sunday 5th and 19th Nov, 12-5 pm. Check times at
www.highgatewatercolour.org.uk
Highgate Watercolour Group Autumn Show, Lauderdale
House, Mon-Fri, 11am-4pm; Sunday 5th and 19th Nov, 12-5 pm. Check times at
www.highgatewatercolour.org.uk
Highgate Watercolour Group Autumn Show, Lauderdale
House, Mon-Fri, 11am-4pm; Sunday 5th and 19th Nov, 12-5 pm. Check times at
www.highgatewatercolour.org.uk
Highgate Watercolour Group Autumn Show, Lauderdale
House, Mon-Fri, 11am-4pm; Sunday 5th and 19th Nov, 12-5 pm. Check times at
www.highgatewatercolour.org.uk
Highgate Watercolour Group Autumn Show, Lauderdale
House, Mon-Fri, 11am-4pm; Sunday 5th and 19th Nov, 12-5 pm. Check times at
www.highgatewatercolour.org.uk
An evening of Music Hall by The Lissenden Players with
Tommy Parsons, Sue Yager, Paul Kenealy, Barbara Kealy, Pamela Mundy,
with Mike Francis in the Chair
and Derek Marcus at the piano.
Highgate Watercolour Group Autumn Show, Lauderdale
House, Mon-Fri, 11am-4pm; Sunday 5th and 19th Nov, 12-5 pm. Check times at
www.highgatewatercolour.org.uk
Highgate Watercolour Group Autumn Show, Lauderdale
House, Mon-Fri, 11am-4pm; Sunday 5th and 19th Nov, 12-5 pm. Check times at
www.highgatewatercolour.org.uk
Highgate Watercolour Group Autumn Show, Lauderdale
House, Mon-Fri, 11am-4pm; Sunday 5th and 19th Nov, 12-5 pm. Check times at
www.highgatewatercolour.org.uk
Highgate Watercolour Group Autumn Show, Lauderdale
House, Mon-Fri, 11am-4pm; Sunday 5th and 19th Nov, 12-5 pm. Check times at
www.highgatewatercolour.org.uk
Highgate Watercolour Group Autumn Show, Lauderdale
House, Mon-Fri, 11am-4pm; Sunday 5th and 19th Nov, 12-5 pm. Check times at
www.highgatewatercolour.org.uk
Highgate Watercolour Group Autumn Show, Lauderdale
House, Mon-Fri, 11am-4pm; Sunday 5th and 19th Nov, 12-5 pm. Check times at
www.highgatewatercolour.org.uk
Highgate Watercolour Group Autumn Show, Lauderdale
House, Mon-Fri, 11am-4pm; Sunday 5th and 19th Nov, 12-5 pm. Check times at
www.highgatewatercolour.org.uk
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 Gender Equality is Unachievable
Proposing: Ann Hussey, QC and barrister specialising in family law
Opposing: Vicky Pryce, economist and former joint head of the UK government economic service
Highgate Watercolour Group Autumn Show, Lauderdale
House, Mon-Fri, 11am-4pm; Sunday 5th and 19th Nov, 12-5 pm. Check times at
www.highgatewatercolour.org.uk
Highgate Watercolour Group Autumn Show, Lauderdale
House, Mon-Fri, 11am-4pm; Sunday 5th and 19th Nov, 12-5 pm. Check times at
www.highgatewatercolour.org.uk
Highgate Watercolour Group Autumn Show, Lauderdale
House, Mon-Fri, 11am-4pm; Sunday 5th and 19th Nov, 12-5 pm. Check times at
www.highgatewatercolour.org.uk
Come and sing Carols with Highgate School Band in Pond Square and refreshments afterwards at 10A South Grove -Highgate Society.
Come along to see the Energy section of the film ‘Demain’ and get inspiration on everything from generating energy locally to reducing our bills and making our homes warmer and more efficient.
Chair: Catherine Budgett-Meakin
Speakers: Sydney Charles of en10energy and Community Energy London
Ian Grant of Environment Analyst
Ben Pearce, of Power Up North London
Jon Cowdrill Founder of HEET
Topics – Save money on fuel bills; Stay warm and healthy at home; Avoid burglary or fire; Save energy and cut carbon emissions.
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
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
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
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.
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.