Inspired by trends in contemporary photography and the diverse writings of Plato, author Robert Lawlor and architectural historian Peg Rawes, Anise Gallery is marking its fifth birthday with an exhibition of photography based on themes found in the sacred geometries.
Geometry in aesthetics are unavoidable when traversing through the city, whether this is in grand scale such as skyscraper architecture, to the tiny backs of ladybirds. Intricate design can be located in both complex, constructed design patterns and in the minute details in nature. Aesthetics and mathematics come together in geometry, and have done since ancient Egypt, where geometrics were viewed as a visual manifestation of law and order. Later in ancient Greece, they had sacred and scientific properties in helping to solve earthly mysteries.
Mies Van Der Rohe and James Stirling: Circling the Square is at The Royal Institute of British Architects (RIBA) from March 8 – June 25 2017. The exhibition is open Monday - Sunday 10am to 5pm and Tuesdays 10am to 8pm.
The exhibition sees the projects presented together for the first time, offering a unique opportunity to trace the continuity in purpose and approach that unites two seemingly dissimilar architectural creations.
Commissioned by architectural patron and developer Lord Peter Palumbo, Mies van der Rohe designed his proposal for Mansion House Square at the very end of his career, between 1962 and his death in 1969. After a protracted planning process, the scheme was finally rejected in 1985. Lord Palumbo then approached James Stirling, to conceive an alternative vision for the site. James Stirling, Michael Wilford & Associates' No. 1 Poultry was completed in 1997, two years after Stirling’s untimely death. It is often cited as a masterpiece of the post-international style and has recently been awarded Grade II* listed status; while it still divides opinion, the building was designed with an acute understanding of both its historic surroundings and Mies's earlier design.
The exhibition features newly restored models and materials about the Mies' scheme on loan to the RIBA by Lord Palumbo, along with significant items from the No. 1 Poultry archive.
Following the event, Sam said, ‘I was so delighted to see so many energised and engaged faces at the HeartEdge launch as we spoke about structures, configurations, approaches, insights – but most of all of renewal of vocation, vision and common exploration. That left me full of hope for the emergence of HeartEdge – a movement as yet of many different words but one purposeful spirit. I hope you will sign up and encourage others to do so.’
For more information contact Revd Jonathan Evens, Associate Vicar for Partnerships on 02077661127 or firstname.lastname@example.org. --------------------------------------------------------------------------------------------------
Corinne Bailey Rae - The Skies Will Break.
Chaim Stephenson worked for over sixty years to produce a wide range of sculpture, of which this exhibition shows but a small part – pieces inspired by the stories in the Old Testament, and those that came out of his lifelong concern for people driven from their homes. Among the former, every sculpture tells a story, familiar and built into our culture and traditions. The refugee statues speak of a universal and contemporary reality that not only mattered profoundly to the artist but affects us all.
Chaim Stephenson was born in Liverpool to Russian Jewish immigrant parents. He served in the mines as a ‘Bevin boy’ before joining a group of young Jews who emigrated to Palestine. After fighting through the first Arab-Israeli war of 1948 he joined a kibbutz in western Galilee where he worked as a shepherd, sculpting in his limited free time. After a year in England studying and sculpting, he went back to Israel, and married writer Lynne Reid Banks. They returned to the UK in 1971 with their three sons. He spent the rest of his life as a working artist, dying last year aged 89.
The Living South Africa Memorial by Chaim Stephenson is on permanent display in church and St Martin’s is pleased to display a full exhibition of the work of this remarkable artist.
"Claudio Crismani is an amazing, daring and magnetic artist.”
With these words American critic John Maxim concludes his review on Music Life about Claudio Crismani’s concert dedicated to Scriabin’s music. The music by Russian composer Alexander Scriabin has always been at the centre of Crismani’s artistic interests.
Crismani was born in Trieste and he began studying music with Andrea Giorgi as a young boy. Between Andro and Claudio a solid, lifelong fraternal friendship was built in time. He continued studying piano with Alessandro Costantinides and composition with Mario Bugamelli, graduating with full marks at the Bolzano Conservatory. He then perfected his technique studying with Marguerite Kazuro in Warsaw for five years.
His international career began in Paris in 1979 with a recital at the "Salle Pleyel" and a series of radio and tv recordings for "France Musique". Since then he has performed all over Europe, Russia, Israel, USA, Japan and Australia and in the most distinguished concert halls. He has worked with directors such as James Lawrence Levine, Cristoph von Dohnányi and Thomas Sanderling and performed with internationally renowned orchestras, among which: The London Philharmonic Orchestra, The Philharmonia Orchestra, The European Community Chamber Orchestra, Les Solistes de Moscou, The Osaka Philharmonic Orchestra and The Israel Philharmonic Orchestra.
In 1986 Claudio Crismani was invited to celebrate the hundredth anniversary of Liszt’s death by performing twelve concerts in England and playing the complete “Années de Pèlerinage" and the transcriptions of Wagner’s operas. In 1987, UNESCO named him "European Artist" and invited him to perform at the "International Music Soiree" at the Palais des Congrès in Paris. That same year he was appointed "Guest Artist" of the Van Leer Foundation in Jerusalem and under this aegis he became co-founder of the Horowitz Festival.
In the Nineties, he staged a three-evening performance of the complete Poems and Sonatas for piano by Scriabin, which was repeated several times in different countries. He had an exclusive record contract with RS for twelve years and won two Discographic Awards. This period was marked by an important collaboration and friendship with the great Russian pianist Lazar Berman. His performance of Scriabin’s Concerto for Piano and Orchestra together with The London Philharmonic Orchestra, conducted by Thomas Sanderling and recorded live at the Royal Festival Hall in London, was a true publishing success story.
After a concert tour in 2002/2003 marking his thirtieth year of artistic activity (he was described as one of the major artists of his generation), Claudio Crismani decided to retire from the concert scene and devote himself exclusively to a long period of study.
In 2014, he returned on the musical scene – among others - with “The Prometheus Project”, which is a transposition of Alexander Scriabin’s “Promethean” dream, designed to be a literary, artistic and (of course) musical experience. He rewrote it together with his friend Edward Lucie-Smith as a synesthetic blend, suspended between visual art and music, literature and history.
Here, Pasternak and Scriabin intersect with contemporary traits, tracing a hitherto undescribed randomness of real- life moments spanning from Russia to Trieste and present and future human relations developing between Trieste and London.
In 2015, Claudio Crismani returned on the international scene at the exhibition on Boris Pasternak: “la Genesi del Sogno” (The Genesis of the Dream). The event highlighted artworks by Oleg Kudryashov, photographs by Moisei Nappelbaum and Crismani’s concert (performed strictly on a Fazioli piano) at the Teatro Verdi in Trieste, and repeated in 2016 in Cividale del Friuli with a tribute to Boulez, and in London, at St. Stephen Walbrook, playing Boulez, Liszt and Scriabin.
This year at St Martin-in-the-Fields, using Dr Meg Warner as our guide, we will be journeying with Abraham, through his challenges, doubts, false turns and unbelievable promises. Our Lent Study will begin on Wednesday 8 March with an informal Eucharist in which Meg Warner will be joining us to introduce her book, Abraham: A Journey through Lent, followed by simple Lenten supper and study groups.
The cost of the course is £15 which includes a copy of the book and the study materials (or £8 if you already have the book). Join us for the 6 week programme: March 8, 15, 22, 29, April 5, 12.
Week one – An Introduction with Meg Warner
8 March: The Call: Genesis 12.1-18 (Chapter 1)
15 March: The Promise: Genesis 15 (Chapter 2)
22 March: The Visitors: Genesis 18.1-15 (Chapter 3)
29 March: The ‘Other': Genesis 21.1-21 (Chapter 4)
5 April: The Choice: Genesis 22.1-19 (Chapter 5)
12 April: The Legacy: Genesis 26 (Chapter 6)