The class is suitable for beginners and is friendly and inclusive. Style is Hatha yoga with various influences – gentle, but still delivering strength and flexibility. Come and try a class to enhance your sense of wellbeing, release stress and tension and to experience deep relaxation. Mats provided, free parking (for now, but check signs!) no need to book – just turn up. The class is in the beautiful church – it’s set back a bit and has big blue doors. The class is mixed level/mixed ability/mixed age. I am a registered BWY teacher and fully insured. For more info about me/my yoga, have a look at my website
Beyond the Likeness Group: Life after Life. 4-17 March 2022
Highgate Cemetery is the inspiration for thirteen artists, all trained in portraiture, who bring their own personal interpretations to paintings of some of those who are buried there. In doing so they discover the richness and diversity of their worlds and examine their legacies.
The Group explore scenarios in which different centuries come together, presenting those with contradictory and complementary attitudes. They investigate attitudes to sexual mores, the environment, different cultures, the individual, and even the Cemetery itself.
Those being featured include: Eva and Walter Neurath, founders of Thames and Hudson; Shu Pao Lim, founder of the Chinese Community Centre; William Friese-Green, inventor of the motion picture camera; David Edward Hughes, inventor of the microphone; Bert Jansch, folk/jazz guitarist; Jane Arden, film director; Mehmet Aksoy, filmmaker; Berenice Sydney, abstract artist; Elizabeth Siddall, artist and muse; Malcolm McClaren, visual artist and performer; Charles Cruft, founder of the dog show; Claudia Jones, journalist and activist; Philip Harben, first celebrity chef; Ernestine Rose, suffragist, abolitionist and free thinker, and the Lost Girls of Highgate, ten residents of a home for ‘lost women’.
With a wealth of artistic talent drawn from around the world, all of whom have very different cultural approaches to death and commemoration, Life after Life is a unique look at mortality, the march of time and the inevitability of our demise, from a unique Highgate Cemetery perspective.
The Beyond the Likeness Group consists of former and current Art Academy London students who met while studying on the Contemporary Portraiture degree course. Members – who are from four continents and have nine languages between them – are:
Norman Frost; Corrie Georgala; Alicia Griffiths; Patricia Gutierrez; Kate Linden; Constance Regardsoe; Jess Routley; Minnie Scott; Paul Starns; Ruth Swain; Susan Terrones; Richa Vora; Belinda Wrigley.
Their work has appeared in various national competitions and galleries, ranging from the Royal Portrait Society, Royal Academy Summer Exhibition, Mall Galleries, Ruth Borchard, Ashmoleum Musem, Holly Bush, London’s Newington Gallery, in the book ‘Portraits for NHS Heroes’ and in several online exhibitions. All work in this exhibition is for sale. Admission free.
To book a place for the related lecture on 1 March please visit https://hlsi.net/lectures
1 March 2022 at 6pm: Life after life: death and commemoration at Highgate Cemetery with Ian Dungavell.
Ian Dungavell is chief executive of the Friends of Highgate Cemetery Trust, the charity which runs Highgate Cemetery. An architectural historian and conservationist he has lectured widely on nineteenth-century cemeteries and Highgate in particular.
£5 (HLSI members free). Sign up online by 1.00pm on the day.
Highgate Gallery open Tues-Fri 1-5pm, Sat 11am-4pm, Sun 11am-5pm; closed Mon.
Beyond the Likeness Group: Life after Life. 4-17 March 2022
Highgate Cemetery is the inspiration for thirteen artists, all trained in portraiture, who bring their own personal interpretations to paintings of some of those who are buried there. In doing so they discover the richness and diversity of their worlds and examine their legacies.
The Group explore scenarios in which different centuries come together, presenting those with contradictory and complementary attitudes. They investigate attitudes to sexual mores, the environment, different cultures, the individual, and even the Cemetery itself.
Those being featured include: Eva and Walter Neurath, founders of Thames and Hudson; Shu Pao Lim, founder of the Chinese Community Centre; William Friese-Green, inventor of the motion picture camera; David Edward Hughes, inventor of the microphone; Bert Jansch, folk/jazz guitarist; Jane Arden, film director; Mehmet Aksoy, filmmaker; Berenice Sydney, abstract artist; Elizabeth Siddall, artist and muse; Malcolm McClaren, visual artist and performer; Charles Cruft, founder of the dog show; Claudia Jones, journalist and activist; Philip Harben, first celebrity chef; Ernestine Rose, suffragist, abolitionist and free thinker, and the Lost Girls of Highgate, ten residents of a home for ‘lost women’.
With a wealth of artistic talent drawn from around the world, all of whom have very different cultural approaches to death and commemoration, Life after Life is a unique look at mortality, the march of time and the inevitability of our demise, from a unique Highgate Cemetery perspective.
The Beyond the Likeness Group consists of former and current Art Academy London students who met while studying on the Contemporary Portraiture degree course. Members – who are from four continents and have nine languages between them – are:
Norman Frost; Corrie Georgala; Alicia Griffiths; Patricia Gutierrez; Kate Linden; Constance Regardsoe; Jess Routley; Minnie Scott; Paul Starns; Ruth Swain; Susan Terrones; Richa Vora; Belinda Wrigley.
Their work has appeared in various national competitions and galleries, ranging from the Royal Portrait Society, Royal Academy Summer Exhibition, Mall Galleries, Ruth Borchard, Ashmoleum Musem, Holly Bush, London’s Newington Gallery, in the book ‘Portraits for NHS Heroes’ and in several online exhibitions. All work in this exhibition is for sale. Admission free.
To book a place for the related lecture on 1 March please visit https://hlsi.net/lectures
1 March 2022 at 6pm: Life after life: death and commemoration at Highgate Cemetery with Ian Dungavell.
Ian Dungavell is chief executive of the Friends of Highgate Cemetery Trust, the charity which runs Highgate Cemetery. An architectural historian and conservationist he has lectured widely on nineteenth-century cemeteries and Highgate in particular.
£5 (HLSI members free). Sign up online by 1.00pm on the day.
Highgate Gallery open Tues-Fri 1-5pm, Sat 11am-4pm, Sun 11am-5pm; closed Mon.
A performance, a walk, an opportunity to experience the unique personality of this public space after dusk, when the gates are closed and we have exclusive access, safely locked in. Finding the pinnacle of gardenlessness, the trees after leaf fall, the aftermath of ash dieback, the humbled beech, the viewing mound, the shape of water at night, the echo of a playground without kids, and other surprises.
Soup will be served afterwards in the LUX conservatory.
Assisted by Ning Chou.
Limited to 20 people, booking essential.
You will be sent further instructions when you book but you should dress warmly with appropriate footwear as it might be muddy.
Richard Layzell is Creative Ecologist in residence at LUX. He has been a leading innovator in the fields of live art, video and installation since the 1980s. He has been commissioned by most major public galleries and museums across the UK and completed many international artist residencies. As a mentor and facilitator he’s devised an individual approach to sharing knowledge and supporting others. He has pioneered socially engaged practice and worked with many diverse communities nationally and internationally. His interactive installation Tap Ruffle and Shave was experienced by 100,000 people of all ages and abilities on its UK tour. He is the author of Live Art in Schools, Enhanced Performance (ed. Deborah Levy) and Cream Pages (ed. Joshua Sofaer), an honorary associate of the National Review of Live Art.
Beyond the Likeness Group: Life after Life. 4-17 March 2022
Highgate Cemetery is the inspiration for thirteen artists, all trained in portraiture, who bring their own personal interpretations to paintings of some of those who are buried there. In doing so they discover the richness and diversity of their worlds and examine their legacies.
The Group explore scenarios in which different centuries come together, presenting those with contradictory and complementary attitudes. They investigate attitudes to sexual mores, the environment, different cultures, the individual, and even the Cemetery itself.
Those being featured include: Eva and Walter Neurath, founders of Thames and Hudson; Shu Pao Lim, founder of the Chinese Community Centre; William Friese-Green, inventor of the motion picture camera; David Edward Hughes, inventor of the microphone; Bert Jansch, folk/jazz guitarist; Jane Arden, film director; Mehmet Aksoy, filmmaker; Berenice Sydney, abstract artist; Elizabeth Siddall, artist and muse; Malcolm McClaren, visual artist and performer; Charles Cruft, founder of the dog show; Claudia Jones, journalist and activist; Philip Harben, first celebrity chef; Ernestine Rose, suffragist, abolitionist and free thinker, and the Lost Girls of Highgate, ten residents of a home for ‘lost women’.
With a wealth of artistic talent drawn from around the world, all of whom have very different cultural approaches to death and commemoration, Life after Life is a unique look at mortality, the march of time and the inevitability of our demise, from a unique Highgate Cemetery perspective.
The Beyond the Likeness Group consists of former and current Art Academy London students who met while studying on the Contemporary Portraiture degree course. Members – who are from four continents and have nine languages between them – are:
Norman Frost; Corrie Georgala; Alicia Griffiths; Patricia Gutierrez; Kate Linden; Constance Regardsoe; Jess Routley; Minnie Scott; Paul Starns; Ruth Swain; Susan Terrones; Richa Vora; Belinda Wrigley.
Their work has appeared in various national competitions and galleries, ranging from the Royal Portrait Society, Royal Academy Summer Exhibition, Mall Galleries, Ruth Borchard, Ashmoleum Musem, Holly Bush, London’s Newington Gallery, in the book ‘Portraits for NHS Heroes’ and in several online exhibitions. All work in this exhibition is for sale. Admission free.
To book a place for the related lecture on 1 March please visit https://hlsi.net/lectures
1 March 2022 at 6pm: Life after life: death and commemoration at Highgate Cemetery with Ian Dungavell.
Ian Dungavell is chief executive of the Friends of Highgate Cemetery Trust, the charity which runs Highgate Cemetery. An architectural historian and conservationist he has lectured widely on nineteenth-century cemeteries and Highgate in particular.
£5 (HLSI members free). Sign up online by 1.00pm on the day.
Highgate Gallery open Tues-Fri 1-5pm, Sat 11am-4pm, Sun 11am-5pm; closed Mon.
- Opening Event: Sun 20 March 2022, 2pm-5pm, no booking required
- Join us for a conversation with Adam Lewis Jacob, Muhammad Idrish, Claude Nouk and Jemma Desai at 3pm. Idrish (ইদ্রিস) will be on view from 2 to 5pm.
LUX is proud to present a new film by artist Adam Lewis Jacob from 26 March to 30 April 2022. Filmed in Bangladesh and Birmingham during 2020, Idrish (ইদ্রিস) is an urgent and timely reflection on the anti-deportation movement and anti-racist community action refracted through the story of veteran anti-deportation campaigner Muhammad Idrish.
Beginning with a reading of Bidrohi (The Rebel / “বিদ্রোহী”) a revolutionary Bengali poem written by Kazi Nazrul Islam in 1921 the film recounts Muhammad Idrish’s journey and fight to remain in the UK in the 1980s and the trade union led campaign that supported him. The campaign to stop Muhammad’s deportation received widespread support, including from his trade union NALGO (now UNISON). Documented by the Birmingham Trade Union Research Council’s video initiative, TURC Video, the fight was taken up nationally, creating a powerful moment of unity between the anti-racist and trade union movements.
Lewis Jacob and Idrish travelled to Bangladesh in 2020 to visit and film at locations significant to him, this is overlaid with his own testimony of a lifetime of campaigning. Addressing personal history and journey from Bangladesh to the UK in the broader consideration of rights and civil liberties, the film addresses the personal impact of policies which echo through time to the ‘hostile environment’ of present day Britain.
Developed through Lewis Jacob’s research into counter culture movements and drawing on the archives of the Birmingham Trade Union Resource Centre. The film weaves a complex tapestry of found materials from VHS to photographs and campaigning materials, deftly animating the aesthetics of historical resistance alongside Idrish’s personal narrative, and collapsing time and space to create an urgent montage of personal/political resistance. This is complemented by Claude Nouk’s sound design which mirrors the visual approach, looping and remixing archival sounds to add propulsive urgency to the film’s narrative.
The exhibition will also include a selection of ‘camera tapes’, unedited raw footage shot on U-matic tape and recently digitised by TURC video worker Marian Hall who along with Ranbir Bains, a student at the time, collaborated with Idrish to make the West Midlands Anti-deportation Campaign video. A series of contextual events will accompany the exhibition as well as a new essay by writer Jemma Desai.
The class is suitable for beginners and is friendly and inclusive. Style is Hatha yoga with various influences – gentle, but still delivering strength and flexibility. Come and try a class to enhance your sense of wellbeing, release stress and tension and to experience deep relaxation. Mats provided, free parking (for now, but check signs!) no need to book – just turn up. The class is in the beautiful church – it’s set back a bit and has big blue doors. The class is mixed level/mixed ability/mixed age. I am a registered BWY teacher and fully insured. For more info about me/my yoga, have a look at my website
Image: Spirit of the Valley (detail)
When A. E. Housman published ‘A Shropshire Lad’ in 1896, he was living in Highgate village on the outskirts of London, where sheep grazed the hills around Hampstead Heath and Highgate, reminding him of his youth in rural Worcestershire.
On his walks around the family home high in the hills above Bromsgrove he would have seen the changes of the seasons and the now famous ‘blue remembered hills’ in the distance, the Clee Hills, Bredon and the Malverns.
Robert Cunning’s paintings portray the beauty of the change of seasons and the wildflowers in the hay meadows that Housman loved so dearly. There is still much to celebrate in the changing light of the high hills in spite of the climate crisis and the effects of industrialised farming.
Did Housman have a premonition that the world was rapidly changing? His poems only became well known 20 years later at the outbreak of The Great War, when enlisted men and their families looked back with nostalgia to the peaceful rural England of pre-industrial times.
“Superficially the countryside appears unchanged but beneath the surface there has been a catastrophic loss of wildlife and wild places,” Robert Cunning says. “The Shropshire landscape is still beautiful, the rivers have fish and invertebrates, there are insects and birds, but they have all sadly diminished in the 30 years that I have been living here. 125 years after the publication of ‘ A Shropshire Lad ‘ (1896), we are going through an ecological crisis. These landscape paintings are both a celebration of nature and a recognition of change.”
Robert Cunning lived and taught in London for 20 years but now lives and works in Shropshire. A common thread of his paintings is that they evoke a strong sense of place, whether it is the deep rural hills of South Shropshire and the Welsh Marches, or the inner cityscapes of London and New York. His paintings observe the changing architectural spaces of our cities and the seasonal changes of the countryside.
5 April 2022, 18:00: A Shropshire Lad in Highgate. Lecture by Peter Parker, author of Housman Country: Into the Heart of England (2016). Parker discusses why A Shropshire Lad became one of the most popular books of poetry ever published and how it has influenced English culture and notions of what “England” means both here and abroad.
£5 (HLSI members free). Sign up online by 13:00 on the day. Please visit https://hlsi.net/lectures
Highgate Gallery open Tues-Fri 13:00-17:00, Sat 11:00-16:00, Sun 11:00-17:00; closed Mon. Free Exhibition continues until 7 April.
Image: Spirit of the Valley (detail)
When A. E. Housman published ‘A Shropshire Lad’ in 1896, he was living in Highgate village on the outskirts of London, where sheep grazed the hills around Hampstead Heath and Highgate, reminding him of his youth in rural Worcestershire.
On his walks around the family home high in the hills above Bromsgrove he would have seen the changes of the seasons and the now famous ‘blue remembered hills’ in the distance, the Clee Hills, Bredon and the Malverns.
Robert Cunning’s paintings portray the beauty of the change of seasons and the wildflowers in the hay meadows that Housman loved so dearly. There is still much to celebrate in the changing light of the high hills in spite of the climate crisis and the effects of industrialised farming.
Did Housman have a premonition that the world was rapidly changing? His poems only became well known 20 years later at the outbreak of The Great War, when enlisted men and their families looked back with nostalgia to the peaceful rural England of pre-industrial times.
“Superficially the countryside appears unchanged but beneath the surface there has been a catastrophic loss of wildlife and wild places,” Robert Cunning says. “The Shropshire landscape is still beautiful, the rivers have fish and invertebrates, there are insects and birds, but they have all sadly diminished in the 30 years that I have been living here. 125 years after the publication of ‘ A Shropshire Lad ‘ (1896), we are going through an ecological crisis. These landscape paintings are both a celebration of nature and a recognition of change.”
Robert Cunning lived and taught in London for 20 years but now lives and works in Shropshire. A common thread of his paintings is that they evoke a strong sense of place, whether it is the deep rural hills of South Shropshire and the Welsh Marches, or the inner cityscapes of London and New York. His paintings observe the changing architectural spaces of our cities and the seasonal changes of the countryside.
5 April 2022, 18:00: A Shropshire Lad in Highgate. Lecture by Peter Parker, author of Housman Country: Into the Heart of England (2016). Parker discusses why A Shropshire Lad became one of the most popular books of poetry ever published and how it has influenced English culture and notions of what “England” means both here and abroad.
£5 (HLSI members free). Sign up online by 13:00 on the day. Please visit https://hlsi.net/lectures
Highgate Gallery open Tues-Fri 13:00-17:00, Sat 11:00-16:00, Sun 11:00-17:00; closed Mon. Free Exhibition continues until 7 April.
Voxcetera chamber choir sings Gabriel Fauré’s much-loved, moving masterpiece, with soloists Ellie and Jamie Sperling, accompanied by violin, cello, harp and organ.
The concert will also feature Fauré’s Cantique de Jean Racine; a selection from Gustav Holst’s Choral Hymns from the Rig Veda, a collection of ancient Indian sacred texts; and Henry Balfour Gardiner’s dramatic Evening Hymn.
And you’ll hear beautiful music from contemporary composers: the hypnotic Northern Lights by Ola Gjeilo; and Paul Aryes’ sun-drenched love song Quanto sei bella.
Voxcetera is a north London-based chamber choir, directed by its founding conductor Jane Hopkins. Recent activity includes concerts at St Martin-in-the-fields, East Finchley Arts Festival, overseas tours and recording work.
Spirit of the Valley (detail)
When A. E. Housman published ‘A Shropshire Lad’ in 1896, he was living in Highgate village on the outskirts of London, where sheep grazed the hills around Hampstead Heath and Highgate, reminding him of his youth in rural Worcestershire.
On his walks around the family home high in the hills above Bromsgrove he would have seen the changes of the seasons and the now famous ‘blue remembered hills’ in the distance, the Clee Hills, Bredon and the Malverns.
Robert Cunning’s paintings portray the beauty of the change of seasons and the wildflowers in the hay meadows that Housman loved so dearly. There is still much to celebrate in the changing light of the high hills in spite of the climate crisis and the effects of industrialised farming.
Did Housman have a premonition that the world was rapidly changing? His poems only became well known 20 years later at the outbreak of The Great War, when enlisted men and their families looked back with nostalgia to the peaceful rural England of pre-industrial times.
“Superficially the countryside appears unchanged but beneath the surface there has been a catastrophic loss of wildlife and wild places,” Robert Cunning says. “The Shropshire landscape is still beautiful, the rivers have fish and invertebrates, there are insects and birds, but they have all sadly diminished in the 30 years that I have been living here. 125 years after the publication of ‘ A Shropshire Lad ‘ (1896), we are going through an ecological crisis. These landscape paintings are both a celebration of nature and a recognition of change.”
Robert Cunning lived and taught in London for 20 years but now lives and works in Shropshire. A common thread of his paintings is that they evoke a strong sense of place, whether it is the deep rural hills of South Shropshire and the Welsh Marches, or the inner cityscapes of London and New York. His paintings observe the changing architectural spaces of our cities and the seasonal changes of the countryside.
5 April 2022, 18:00: A Shropshire Lad in Highgate. Lecture by Peter Parker, author of Housman Country: Into the Heart of England (2016). Parker discusses why A Shropshire Lad became one of the most popular books of poetry ever published and how it has influenced English culture and notions of what “England” means both here and abroad.
£5 (HLSI members free). Sign up online by 13:00 on the day. Please visit https://hlsi.net/lectures
Highgate Gallery open Tues-Fri 13:00-17:00, Sat 11:00-16:00, Sun 11:00-17:00; closed Mon. Exhibition continues until 7 April.
The class is suitable for beginners and is friendly and inclusive. Style is Hatha yoga with various influences – gentle, but still delivering strength and flexibility. Come and try a class to enhance your sense of wellbeing, release stress and tension and to experience deep relaxation. Mats provided, free parking (for now, but check signs!) no need to book – just turn up. The class is in the beautiful church – it’s set back a bit and has big blue doors. The class is mixed level/mixed ability/mixed age. I am a registered BWY teacher and fully insured. For more info about me/my yoga, have a look at my website
Image: Spirit of the Valley (detail)
When A. E. Housman published ‘A Shropshire Lad’ in 1896, he was living in Highgate village on the outskirts of London, where sheep grazed the hills around Hampstead Heath and Highgate, reminding him of his youth in rural Worcestershire.
On his walks around the family home high in the hills above Bromsgrove he would have seen the changes of the seasons and the now famous ‘blue remembered hills’ in the distance, the Clee Hills, Bredon and the Malverns.
Robert Cunning’s paintings portray the beauty of the change of seasons and the wildflowers in the hay meadows that Housman loved so dearly. There is still much to celebrate in the changing light of the high hills in spite of the climate crisis and the effects of industrialised farming.
Did Housman have a premonition that the world was rapidly changing? His poems only became well known 20 years later at the outbreak of The Great War, when enlisted men and their families looked back with nostalgia to the peaceful rural England of pre-industrial times.
“Superficially the countryside appears unchanged but beneath the surface there has been a catastrophic loss of wildlife and wild places,” Robert Cunning says. “The Shropshire landscape is still beautiful, the rivers have fish and invertebrates, there are insects and birds, but they have all sadly diminished in the 30 years that I have been living here. 125 years after the publication of ‘ A Shropshire Lad ‘ (1896), we are going through an ecological crisis. These landscape paintings are both a celebration of nature and a recognition of change.”
Robert Cunning lived and taught in London for 20 years but now lives and works in Shropshire. A common thread of his paintings is that they evoke a strong sense of place, whether it is the deep rural hills of South Shropshire and the Welsh Marches, or the inner cityscapes of London and New York. His paintings observe the changing architectural spaces of our cities and the seasonal changes of the countryside.
5 April 2022, 18:00: A Shropshire Lad in Highgate. Lecture by Peter Parker, author of Housman Country: Into the Heart of England (2016). Parker discusses why A Shropshire Lad became one of the most popular books of poetry ever published and how it has influenced English culture and notions of what “England” means both here and abroad.
£5 (HLSI members free). Sign up online by 13:00 on the day. Please visit https://hlsi.net/lectures
Highgate Gallery open Tues-Fri 13:00-17:00, Sat 11:00-16:00, Sun 11:00-17:00; closed Mon. Free Exhibition continues until 7 April.
Image: Spirit of the Valley (detail)
When A. E. Housman published ‘A Shropshire Lad’ in 1896, he was living in Highgate village on the outskirts of London, where sheep grazed the hills around Hampstead Heath and Highgate, reminding him of his youth in rural Worcestershire.
On his walks around the family home high in the hills above Bromsgrove he would have seen the changes of the seasons and the now famous ‘blue remembered hills’ in the distance, the Clee Hills, Bredon and the Malverns.
Robert Cunning’s paintings portray the beauty of the change of seasons and the wildflowers in the hay meadows that Housman loved so dearly. There is still much to celebrate in the changing light of the high hills in spite of the climate crisis and the effects of industrialised farming.
Did Housman have a premonition that the world was rapidly changing? His poems only became well known 20 years later at the outbreak of The Great War, when enlisted men and their families looked back with nostalgia to the peaceful rural England of pre-industrial times.
“Superficially the countryside appears unchanged but beneath the surface there has been a catastrophic loss of wildlife and wild places,” Robert Cunning says. “The Shropshire landscape is still beautiful, the rivers have fish and invertebrates, there are insects and birds, but they have all sadly diminished in the 30 years that I have been living here. 125 years after the publication of ‘ A Shropshire Lad ‘ (1896), we are going through an ecological crisis. These landscape paintings are both a celebration of nature and a recognition of change.”
Robert Cunning lived and taught in London for 20 years but now lives and works in Shropshire. A common thread of his paintings is that they evoke a strong sense of place, whether it is the deep rural hills of South Shropshire and the Welsh Marches, or the inner cityscapes of London and New York. His paintings observe the changing architectural spaces of our cities and the seasonal changes of the countryside.
5 April 2022, 18:00: A Shropshire Lad in Highgate. Lecture by Peter Parker, author of Housman Country: Into the Heart of England (2016). Parker discusses why A Shropshire Lad became one of the most popular books of poetry ever published and how it has influenced English culture and notions of what “England” means both here and abroad.
£5 (HLSI members free). Sign up online by 13:00 on the day. Please visit https://hlsi.net/lectures
Highgate Gallery open Tues-Fri 13:00-17:00, Sat 11:00-16:00, Sun 11:00-17:00; closed Mon. Free Exhibition continues until 7 April.
Image: Spirit of the Valley (detail)
When A. E. Housman published ‘A Shropshire Lad’ in 1896, he was living in Highgate village on the outskirts of London, where sheep grazed the hills around Hampstead Heath and Highgate, reminding him of his youth in rural Worcestershire.
On his walks around the family home high in the hills above Bromsgrove he would have seen the changes of the seasons and the now famous ‘blue remembered hills’ in the distance, the Clee Hills, Bredon and the Malverns.
Robert Cunning’s paintings portray the beauty of the change of seasons and the wildflowers in the hay meadows that Housman loved so dearly. There is still much to celebrate in the changing light of the high hills in spite of the climate crisis and the effects of industrialised farming.
Did Housman have a premonition that the world was rapidly changing? His poems only became well known 20 years later at the outbreak of The Great War, when enlisted men and their families looked back with nostalgia to the peaceful rural England of pre-industrial times.
“Superficially the countryside appears unchanged but beneath the surface there has been a catastrophic loss of wildlife and wild places,” Robert Cunning says. “The Shropshire landscape is still beautiful, the rivers have fish and invertebrates, there are insects and birds, but they have all sadly diminished in the 30 years that I have been living here. 125 years after the publication of ‘ A Shropshire Lad ‘ (1896), we are going through an ecological crisis. These landscape paintings are both a celebration of nature and a recognition of change.”
Robert Cunning lived and taught in London for 20 years but now lives and works in Shropshire. A common thread of his paintings is that they evoke a strong sense of place, whether it is the deep rural hills of South Shropshire and the Welsh Marches, or the inner cityscapes of London and New York. His paintings observe the changing architectural spaces of our cities and the seasonal changes of the countryside.
5 April 2022, 18:00: A Shropshire Lad in Highgate. Lecture by Peter Parker, author of Housman Country: Into the Heart of England (2016). Parker discusses why A Shropshire Lad became one of the most popular books of poetry ever published and how it has influenced English culture and notions of what “England” means both here and abroad.
£5 (HLSI members free). Sign up online by 13:00 on the day. Please visit https://hlsi.net/lectures
Highgate Gallery open Tues-Fri 13:00-17:00, Sat 11:00-16:00, Sun 11:00-17:00; closed Mon. Free Exhibition continues until 7 April.
Image: Spirit of the Valley (detail)
When A. E. Housman published ‘A Shropshire Lad’ in 1896, he was living in Highgate village on the outskirts of London, where sheep grazed the hills around Hampstead Heath and Highgate, reminding him of his youth in rural Worcestershire.
On his walks around the family home high in the hills above Bromsgrove he would have seen the changes of the seasons and the now famous ‘blue remembered hills’ in the distance, the Clee Hills, Bredon and the Malverns.
Robert Cunning’s paintings portray the beauty of the change of seasons and the wildflowers in the hay meadows that Housman loved so dearly. There is still much to celebrate in the changing light of the high hills in spite of the climate crisis and the effects of industrialised farming.
Did Housman have a premonition that the world was rapidly changing? His poems only became well known 20 years later at the outbreak of The Great War, when enlisted men and their families looked back with nostalgia to the peaceful rural England of pre-industrial times.
“Superficially the countryside appears unchanged but beneath the surface there has been a catastrophic loss of wildlife and wild places,” Robert Cunning says. “The Shropshire landscape is still beautiful, the rivers have fish and invertebrates, there are insects and birds, but they have all sadly diminished in the 30 years that I have been living here. 125 years after the publication of ‘ A Shropshire Lad ‘ (1896), we are going through an ecological crisis. These landscape paintings are both a celebration of nature and a recognition of change.”
Robert Cunning lived and taught in London for 20 years but now lives and works in Shropshire. A common thread of his paintings is that they evoke a strong sense of place, whether it is the deep rural hills of South Shropshire and the Welsh Marches, or the inner cityscapes of London and New York. His paintings observe the changing architectural spaces of our cities and the seasonal changes of the countryside.
5 April 2022, 18:00: A Shropshire Lad in Highgate. Lecture by Peter Parker, author of Housman Country: Into the Heart of England (2016). Parker discusses why A Shropshire Lad became one of the most popular books of poetry ever published and how it has influenced English culture and notions of what “England” means both here and abroad.
£5 (HLSI members free). Sign up online by 13:00 on the day. Please visit https://hlsi.net/lectures
Highgate Gallery open Tues-Fri 13:00-17:00, Sat 11:00-16:00, Sun 11:00-17:00; closed Mon. Free Exhibition continues until 7 April.
Image: Spirit of the Valley (detail)
When A. E. Housman published ‘A Shropshire Lad’ in 1896, he was living in Highgate village on the outskirts of London, where sheep grazed the hills around Hampstead Heath and Highgate, reminding him of his youth in rural Worcestershire.
On his walks around the family home high in the hills above Bromsgrove he would have seen the changes of the seasons and the now famous ‘blue remembered hills’ in the distance, the Clee Hills, Bredon and the Malverns.
Robert Cunning’s paintings portray the beauty of the change of seasons and the wildflowers in the hay meadows that Housman loved so dearly. There is still much to celebrate in the changing light of the high hills in spite of the climate crisis and the effects of industrialised farming.
Did Housman have a premonition that the world was rapidly changing? His poems only became well known 20 years later at the outbreak of The Great War, when enlisted men and their families looked back with nostalgia to the peaceful rural England of pre-industrial times.
“Superficially the countryside appears unchanged but beneath the surface there has been a catastrophic loss of wildlife and wild places,” Robert Cunning says. “The Shropshire landscape is still beautiful, the rivers have fish and invertebrates, there are insects and birds, but they have all sadly diminished in the 30 years that I have been living here. 125 years after the publication of ‘ A Shropshire Lad ‘ (1896), we are going through an ecological crisis. These landscape paintings are both a celebration of nature and a recognition of change.”
Robert Cunning lived and taught in London for 20 years but now lives and works in Shropshire. A common thread of his paintings is that they evoke a strong sense of place, whether it is the deep rural hills of South Shropshire and the Welsh Marches, or the inner cityscapes of London and New York. His paintings observe the changing architectural spaces of our cities and the seasonal changes of the countryside.
5 April 2022, 18:00: A Shropshire Lad in Highgate. Lecture by Peter Parker, author of Housman Country: Into the Heart of England (2016). Parker discusses why A Shropshire Lad became one of the most popular books of poetry ever published and how it has influenced English culture and notions of what “England” means both here and abroad.
£5 (HLSI members free). Sign up online by 13:00 on the day. Please visit https://hlsi.net/lectures
Highgate Gallery open Tues-Fri 13:00-17:00, Sat 11:00-16:00, Sun 11:00-17:00; closed Mon. Free Exhibition continues until 7 April.
Spirit of the Valley (detail)
When A. E. Housman published ‘A Shropshire Lad’ in 1896, he was living in Highgate village on the outskirts of London, where sheep grazed the hills around Hampstead Heath and Highgate, reminding him of his youth in rural Worcestershire.
On his walks around the family home high in the hills above Bromsgrove he would have seen the changes of the seasons and the now famous ‘blue remembered hills’ in the distance, the Clee Hills, Bredon and the Malverns.
Robert Cunning’s paintings portray the beauty of the change of seasons and the wildflowers in the hay meadows that Housman loved so dearly. There is still much to celebrate in the changing light of the high hills in spite of the climate crisis and the effects of industrialised farming.
Did Housman have a premonition that the world was rapidly changing? His poems only became well known 20 years later at the outbreak of The Great War, when enlisted men and their families looked back with nostalgia to the peaceful rural England of pre-industrial times.
“Superficially the countryside appears unchanged but beneath the surface there has been a catastrophic loss of wildlife and wild places,” Robert Cunning says. “The Shropshire landscape is still beautiful, the rivers have fish and invertebrates, there are insects and birds, but they have all sadly diminished in the 30 years that I have been living here. 125 years after the publication of ‘ A Shropshire Lad ‘ (1896), we are going through an ecological crisis. These landscape paintings are both a celebration of nature and a recognition of change.”
Robert Cunning lived and taught in London for 20 years but now lives and works in Shropshire. A common thread of his paintings is that they evoke a strong sense of place, whether it is the deep rural hills of South Shropshire and the Welsh Marches, or the inner cityscapes of London and New York. His paintings observe the changing architectural spaces of our cities and the seasonal changes of the countryside.
5 April 2022, 18:00: A Shropshire Lad in Highgate. Lecture by Peter Parker, author of Housman Country: Into the Heart of England (2016). Parker discusses why A Shropshire Lad became one of the most popular books of poetry ever published and how it has influenced English culture and notions of what “England” means both here and abroad.
£5 (HLSI members free). Sign up online by 13:00 on the day. Please visit https://hlsi.net/lectures
Highgate Gallery open Tues-Fri 13:00-17:00, Sat 11:00-16:00, Sun 11:00-17:00; closed Mon. Exhibition continues until 7 April.
The class is suitable for beginners and is friendly and inclusive. Style is Hatha yoga with various influences – gentle, but still delivering strength and flexibility. Come and try a class to enhance your sense of wellbeing, release stress and tension and to experience deep relaxation. Mats provided, free parking (for now, but check signs!) no need to book – just turn up. The class is in the beautiful church – it’s set back a bit and has big blue doors. The class is mixed level/mixed ability/mixed age. I am a registered BWY teacher and fully insured. For more info about me/my yoga, have a look at my website
Image: Spirit of the Valley (detail)
When A. E. Housman published ‘A Shropshire Lad’ in 1896, he was living in Highgate village on the outskirts of London, where sheep grazed the hills around Hampstead Heath and Highgate, reminding him of his youth in rural Worcestershire.
On his walks around the family home high in the hills above Bromsgrove he would have seen the changes of the seasons and the now famous ‘blue remembered hills’ in the distance, the Clee Hills, Bredon and the Malverns.
Robert Cunning’s paintings portray the beauty of the change of seasons and the wildflowers in the hay meadows that Housman loved so dearly. There is still much to celebrate in the changing light of the high hills in spite of the climate crisis and the effects of industrialised farming.
Did Housman have a premonition that the world was rapidly changing? His poems only became well known 20 years later at the outbreak of The Great War, when enlisted men and their families looked back with nostalgia to the peaceful rural England of pre-industrial times.
“Superficially the countryside appears unchanged but beneath the surface there has been a catastrophic loss of wildlife and wild places,” Robert Cunning says. “The Shropshire landscape is still beautiful, the rivers have fish and invertebrates, there are insects and birds, but they have all sadly diminished in the 30 years that I have been living here. 125 years after the publication of ‘ A Shropshire Lad ‘ (1896), we are going through an ecological crisis. These landscape paintings are both a celebration of nature and a recognition of change.”
Robert Cunning lived and taught in London for 20 years but now lives and works in Shropshire. A common thread of his paintings is that they evoke a strong sense of place, whether it is the deep rural hills of South Shropshire and the Welsh Marches, or the inner cityscapes of London and New York. His paintings observe the changing architectural spaces of our cities and the seasonal changes of the countryside.
5 April 2022, 18:00: A Shropshire Lad in Highgate. Lecture by Peter Parker, author of Housman Country: Into the Heart of England (2016). Parker discusses why A Shropshire Lad became one of the most popular books of poetry ever published and how it has influenced English culture and notions of what “England” means both here and abroad.
£5 (HLSI members free). Sign up online by 13:00 on the day. Please visit https://hlsi.net/lectures
Highgate Gallery open Tues-Fri 13:00-17:00, Sat 11:00-16:00, Sun 11:00-17:00; closed Mon. Free Exhibition continues until 7 April.
5 April 2022, 18:00: A Shropshire Lad in Highgate. Lecture by Peter Parker, author of Housman Country: Into the Heart of England (2016).
Parker discusses why A Shropshire Lad became one of the most popular books of poetry ever published and how it has influenced English culture and notions of what “England” means both here and abroad.
£5 (HLSI members free). Sign up online by 13:00 on the day. Please visit https://hlsi.net/lectures
Image: Spirit of the Valley (detail)
When A. E. Housman published ‘A Shropshire Lad’ in 1896, he was living in Highgate village on the outskirts of London, where sheep grazed the hills around Hampstead Heath and Highgate, reminding him of his youth in rural Worcestershire.
On his walks around the family home high in the hills above Bromsgrove he would have seen the changes of the seasons and the now famous ‘blue remembered hills’ in the distance, the Clee Hills, Bredon and the Malverns.
Robert Cunning’s paintings portray the beauty of the change of seasons and the wildflowers in the hay meadows that Housman loved so dearly. There is still much to celebrate in the changing light of the high hills in spite of the climate crisis and the effects of industrialised farming.
Did Housman have a premonition that the world was rapidly changing? His poems only became well known 20 years later at the outbreak of The Great War, when enlisted men and their families looked back with nostalgia to the peaceful rural England of pre-industrial times.
“Superficially the countryside appears unchanged but beneath the surface there has been a catastrophic loss of wildlife and wild places,” Robert Cunning says. “The Shropshire landscape is still beautiful, the rivers have fish and invertebrates, there are insects and birds, but they have all sadly diminished in the 30 years that I have been living here. 125 years after the publication of ‘ A Shropshire Lad ‘ (1896), we are going through an ecological crisis. These landscape paintings are both a celebration of nature and a recognition of change.”
Robert Cunning lived and taught in London for 20 years but now lives and works in Shropshire. A common thread of his paintings is that they evoke a strong sense of place, whether it is the deep rural hills of South Shropshire and the Welsh Marches, or the inner cityscapes of London and New York. His paintings observe the changing architectural spaces of our cities and the seasonal changes of the countryside.
5 April 2022, 18:00: A Shropshire Lad in Highgate. Lecture by Peter Parker, author of Housman Country: Into the Heart of England (2016). Parker discusses why A Shropshire Lad became one of the most popular books of poetry ever published and how it has influenced English culture and notions of what “England” means both here and abroad.
£5 (HLSI members free). Sign up online by 13:00 on the day. Please visit https://hlsi.net/lectures
Highgate Gallery open Tues-Fri 13:00-17:00, Sat 11:00-16:00, Sun 11:00-17:00; closed Mon. Free Exhibition continues until 7 April.
Image: Spirit of the Valley (detail)
When A. E. Housman published ‘A Shropshire Lad’ in 1896, he was living in Highgate village on the outskirts of London, where sheep grazed the hills around Hampstead Heath and Highgate, reminding him of his youth in rural Worcestershire.
On his walks around the family home high in the hills above Bromsgrove he would have seen the changes of the seasons and the now famous ‘blue remembered hills’ in the distance, the Clee Hills, Bredon and the Malverns.
Robert Cunning’s paintings portray the beauty of the change of seasons and the wildflowers in the hay meadows that Housman loved so dearly. There is still much to celebrate in the changing light of the high hills in spite of the climate crisis and the effects of industrialised farming.
Did Housman have a premonition that the world was rapidly changing? His poems only became well known 20 years later at the outbreak of The Great War, when enlisted men and their families looked back with nostalgia to the peaceful rural England of pre-industrial times.
“Superficially the countryside appears unchanged but beneath the surface there has been a catastrophic loss of wildlife and wild places,” Robert Cunning says. “The Shropshire landscape is still beautiful, the rivers have fish and invertebrates, there are insects and birds, but they have all sadly diminished in the 30 years that I have been living here. 125 years after the publication of ‘ A Shropshire Lad ‘ (1896), we are going through an ecological crisis. These landscape paintings are both a celebration of nature and a recognition of change.”
Robert Cunning lived and taught in London for 20 years but now lives and works in Shropshire. A common thread of his paintings is that they evoke a strong sense of place, whether it is the deep rural hills of South Shropshire and the Welsh Marches, or the inner cityscapes of London and New York. His paintings observe the changing architectural spaces of our cities and the seasonal changes of the countryside.
5 April 2022, 18:00: A Shropshire Lad in Highgate. Lecture by Peter Parker, author of Housman Country: Into the Heart of England (2016). Parker discusses why A Shropshire Lad became one of the most popular books of poetry ever published and how it has influenced English culture and notions of what “England” means both here and abroad.
£5 (HLSI members free). Sign up online by 13:00 on the day. Please visit https://hlsi.net/lectures
Highgate Gallery open Tues-Fri 13:00-17:00, Sat 11:00-16:00, Sun 11:00-17:00; closed Mon. Free Exhibition continues until 7 April.
Handmade in Highgate is back on 8 – 10 April, for the Spring Fair. The Highgate Literary and Scientific Institution will feature up to 30 of the UK’s finest designers/makers and artists. As an added bonus this year the historic library will be open for a book sale on Saturday 9 April and Sunday 10 April.
The opening times will be:
Friday 8 April: 5pm – 8pm
Saturday 9 April: 10am – 6pm
Sunday 10 April: 11am – 5pm
Handmade in Highgate is back on 8 – 10 April, for the Spring Fair. The Highgate Literary and Scientific Institution will feature up to 30 of the UK’s finest designers/makers and artists. As an added bonus this year the historic library will be open for a book sale on Saturday 9 April and Sunday 10 April.
The opening times will be:
Friday 8 April: 5pm – 8pm
Saturday 9 April: 10am – 6pm
Sunday 10 April: 11am – 5pm
Handmade in Highgate is back on 8 – 10 April, for the Spring Fair. The Highgate Literary and Scientific Institution will feature up to 30 of the UK’s finest designers/makers and artists. As an added bonus this year the historic library will be open for a book sale on Saturday 9 April and Sunday 10 April.
The opening times will be:
Friday 8 April: 5pm – 8pm
Saturday 9 April: 10am – 6pm
Sunday 10 April: 11am – 5pm
The class is suitable for beginners and is friendly and inclusive. Style is Hatha yoga with various influences – gentle, but still delivering strength and flexibility. Come and try a class to enhance your sense of wellbeing, release stress and tension and to experience deep relaxation. Mats provided, free parking (for now, but check signs!) no need to book – just turn up. The class is in the beautiful church – it’s set back a bit and has big blue doors. The class is mixed level/mixed ability/mixed age. I am a registered BWY teacher and fully insured. For more info about me/my yoga, have a look at my website
The class is suitable for beginners and is friendly and inclusive. Style is Hatha yoga with various influences – gentle, but still delivering strength and flexibility. Come and try a class to enhance your sense of wellbeing, release stress and tension and to experience deep relaxation. Mats provided, free parking (for now, but check signs!) no need to book – just turn up. The class is in the beautiful church – it’s set back a bit and has big blue doors. The class is mixed level/mixed ability/mixed age. I am a registered BWY teacher and fully insured. For more info about me/my yoga, have a look at my website
Camden clean air initiative
Wednesday 20th April 7.00 pm
10A South Grove N6 6BS (and on Zoom)
Georgina McGivern from the Camden clean air initiative and Marc Ottoloni from Airlabs talking about the installation of 250 of the world’s first highly dense air quality sensors, Airnode, across the borough. Entry free. Full details here.
Do come along to meet your neighbours, enjoy a good cup of coffee and find out what is happening in Highgate.
The planning committee often have someone on hand to answer planning queries.
The class is suitable for beginners and is friendly and inclusive. Style is Hatha yoga with various influences – gentle, but still delivering strength and flexibility. Come and try a class to enhance your sense of wellbeing, release stress and tension and to experience deep relaxation. Mats provided, free parking (for now, but check signs!) no need to book – just turn up. The class is in the beautiful church – it’s set back a bit and has big blue doors. The class is mixed level/mixed ability/mixed age. I am a registered BWY teacher and fully insured. For more info about me/my yoga, have a look at my website
THIS EVENT WILL BE HELD IN THE AUTUMN.
No One Day Like Another …
Wednesday 27th April 7.00 for 7.30 pm
10A South Grove N6 6BS
Katherine Ives, Director of Lauderdale House will provide some insights into its journey from a ‘down at heel’ shabby building hiding its heritage, to the sparkling and beautiful house it is today. More details here.
To accompany the current LUX exhibition, Idrish (ইদ্রিস), Esther Leslie will be in discussion with artists Adam Lewis Jacob and Djofrey Makumbu.
This three way conversation will explore animation’s political potentials. Animation is a form that has a peculiar proximity to repetitive and devalued labour and processes, while also having an anarchic capacity to picture alternative or absolutely different realities that do not adhere to the laws of this world. What can be made of this stranding between factuality and otherworldliness? Illustrated with artists’ clips and historical examples, the discussion will explore ideas of looping in relation to economy, history and medium; animation and reanimation of the past; intimacy and publicity in animated form and the question of influence in relation to the vast and growing archive of animated material in the world today.
Idrish (ইদ্রিস), Adam Lewis Jacob is on view until 30 April at LUX.
———
Adam Lewis Jacob is an artist and filmmaker based in Glasgow and Poole. His work is about the structures that govern our lives and the countercultural figures that question them. He uses the camera to create a space where ideas and people can be brought together and unexpected relationships can occur, using improvisation, performance and sound to reinterpret research and reactivate histories. He is one of the founding members of Céline, an independent artist-run exhibition space in Glasgow. His work has been screened and exhibited at the Berwick Film and Media Arts festival, Ann Arbor Film Festival, Alchemy Film festival, Kochi-Muziris Biennale (India), Studio 55 (Korea), LUX (London) among others. In 2019 he was awarded the Cove Park Experimental Film and Moving Image residency and was co-commissioned by Vivid Projects and Animate as part of national film project WORK. In 2022 Adam will participate in the ESW/TOKAS residency program in Japan.
Djofray Makumbu is a British Congolese artist born and based in East London. He often works with friends and family when making his work which draws on his personal experiences and that of the people close to him. Recent works have focused on the shame and stigma of mental health difficulties, the pressures and violence of inner city life from the perspective of young people and the joy of music and dancing. Djofray loves to mix up different techniques combining stop motion animation, video footage, hand drawn and painted elements in moving image which are sometimes presented alongside live performances such as dance or scripted scenes. Each element in the work is carefully self-made from hand built sets and hand stitched garments for Claymation characters to soundtracks that are developed closely with Djofray’s brother. In 2020, Djofray won a Goldsmiths Exhibitions Hub commission, in partnership with the London Community Video Archive, to make Hello Mr Officer, a moving image work that sees young Black men from across London share their experiences of being harassed by the Police. The work uses stop motion, watercolour and rotoscope alongside archive material from The People’s Account (1987) by Ceddo Film Collective held in the LCVA archive. Recent solo shows include Brixton Library, London in 2019. Djofray graduated from BA Fine Art programme at Goldsmiths in 2018 and was awarded the Alumno/SPACE Studio Bursary as a result of his degree show exhibition.
Esther Leslie is a Professor of Political Aesthetics at Birkbeck, University of London.
Esther Leslie’s books include various studies and translations of Walter Benjamin, as well as Hollywood Flatlands: Animation, Critical Theory and the Avant Garde (Verso, 2002); Synthetic Worlds: Nature, Art and the Chemical Industry (Reaktion, 2005); Derelicts: Thought Worms from the Wreckage (Unkant, 2014), Liquid Crystals: The Science and Art of a Fluid Form (Reaktion, 2016) and Deeper in the Pyramid (with Melanie Jackson: Banner Repeater, 2018).