Viva Brighton Issue #63 May 2018

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VIVA
B R I G H T O N
#63. MAY 2018
EDITORIAL
...........................
.......................
Viva Brighton is based at:
Brighton Junction,
1a Isetta Square, BN1 4GQ.
For advertising enquiries call:
01273 810 296.
Other enquiries call:
01273 810 259.
Every care has been taken to
ensure the accuracy of our content.
We cannot be held responsible for
any omissions, errors or alterations.
Around this time of the year, I’m struck by a
peculiar malady. The first symptoms come on
in early February with an impatient longing
to know what is coming. This develops into
choice-overload anxiety and the attendant
fear of missing out and, ultimately, around
mid-April, frenzied anticipation sets in.
I’ve self-diagnosed a bad case of festival fever
and I doubt I’m the only sufferer. With so
much happening in town this month (we’ve
counted at least five festivals, but then
there’s Charleston just down the road, too),
I’m opting for immersion therapy: booking
myself out every night in May and plunging
up to the eyeballs in art.
It’s a cliché to say that Brighton is an
abundantly creative city: there’s art in the
streets on any day of the year. It’s just that
in May, that gets turned up to eleven. We’ve
been poring over the brochures for months
now and you’ll have to excuse us this one
indulgent issue where just about every page
somehow loops back to something you can
see or do. It would be churlish not to.
In these pages are just a few of our
suggestions, but what we really recommend
is that you get out and about this month.
Whatever your festival strategy, you’re bound
to see something extraordinary, challenging
or entertaining. And don’t worry if you feel
daunted. We can all have a long lie down
under a cold flannel in June.

VIVA
B R I G H T O N
THE TEAM
.....................
EDITOR: Lizzie Lower lizzie@vivamagazines.com
DEPUTY EDITOR: Rebecca Cunningham rebecca@vivamagazines.com
SUB EDITOR: Alex Leith alex@vivamagazines.com
ART DIRECTOR: Katie Moorman katie@vivamagazines.com
PHOTOGRAPHER AT LARGE: Adam Bronkhorst mail@adambronkhorst.com
ADVERTISING: Hilary Maguire hilary@vivamagazines.com,
Sarah Jane Lewis sarah-jane@vivamagazines.com
ADMINISTRATION & ACCOUNTS: Kelly Hill kelly@vivamagazines.com
DISTRIBUTION: David Pardue distribution@vivamagazines.com
CONTRIBUTORS: Alexandra Loske, Amy Holtz, Andrew Darling, Ben Bailey,
Chloë King, Chris Riddell, Emma Chaplin, Hugh Finzel, JJ Waller, Jacqui Bealing,
Jay Collins, Joda, Joe Decie, John Helmer, John O’Donoghue, Lizzie Enfield,
Mark Greco, Martin Skelton, Michael Blencowe and Nione Meakin
PUBLISHER: Becky Ramsden becky@vivamagazines.com
Please recycle your Viva (or keep us forever).

SALES LETTINGS VALUATIONS
beautifully imperfect since 2009

BRIGHTON IS
BEAUTIFUL
AT NIGHT,
SEE IT BY BUS
VISIT BUSES.CO.UK

CONTENTS
...............................
Bits & Bobs.
10-25. Is that a David Shrigley on the
cover? Why yes, it is. Inside the mag,
the Festival guest director and Brighton
resident gives us the lowdown on his
busy May. Plus: Alexandra Loske finally
gets inside a forgotten studio; BOAT
dreamer, the late Adrian Bunting, on
the buses; Joe Decie wanders round
the city in a pair of art-filtered glasses;
a Brighton charity promotes the music
of refugees; the Groutfiti artist strikes
again; we have a pint of ‘meaty’ chips at
The Caroline of Brunswick, and Viva
Brighton does a flit across the Thailand-
Laos border. And plenty more besides.
My Brighton.
26-27. Artists Open Houses festival
director Judy Stevens on the world’s
original art-snoopers’ paradise.
60
10
Photography.
29-35. Tony Tree snaps life on the steps of
Brighton Unitarian Church in New Road.
Columns.
37-41. Lizzie Enfield raps on the art of
abandoned trousers; John Helmer keeps a
lycra-clad lid on a Life on Mars pub, and
will it ever be warm enough for Amy Holtz?
Photo by Victor Frankowski
Alma Haser
On this month.
42-57. Ben Bailey’s picks from The Great
Escape (from in town and out); Blake
Morrison at the Charleston Festival; a
beginner’s guide to being more Beyoncé;
The Lives They Left Behind at BOAT;
transgender traveller Adam at the Theatre
....7 ....

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CONTENTS
...............................
Royal; Baba Brinkman’s Rap Guide to
Climate Change; Mortified at The Warren;
Brighton Film Quartet’s Soundscape
at Spiegeltent, and Ezra Furman at
Brighton Dome.
89
Art.
59-71. Who will be best-in-show at
Artists Open Houses? Plus the art of the
everyday at the Museum of Ordinary
People; Morag Myerscough’s Belonging,
and a round-up of (just a tiny fraction of)
what’s on, art-wise, this month.
The way we work.
73-77. All dressed up with nowhere to
go… five Fringe performers go about
their daily business in their festival finery.
Photo by Adam Bronkhorst, adambronkhorst.com
Food.
79-83. Not one but two performances
revolving around food, and The Rummikub
Curry Club is a thing.
Features.
85-97. We get out and about: a yoga
sanctuary in a converted church; the
festival on the fringes of the city; a
Photo by Adam Bronkhorst, adambronkhorst.com
73
97
two-wheeled tour of Brighton’s street art
with REQ, and an art-toting plinth in
Hove. Plus Lewes composer Ed Hughes,
orchestrating the Sussex landscape, and
long live lichen! The original street
artists, ready to invade Mars.
Inside left.
99. The Brighton Festival Chorus, 1970.
....9 ....

THIS MONTH’S COVER ARTIST
.......................................................
Photo by Victor Frankowski
Over the years we’ve been
privileged to feature the
work of some incredible
local talent on our covers.
This month we’re especially
excited to have been given
this illustration, unmistakably
the work of Turner Prizenominated
artist David
Shrigley, to introduce our
festival issue.
Kemptown resident David is,
of course, the Guest Director
for this year’s Brighton
Festival (5th – 27th May).
“I was quite surprised to be
asked,” he tells us. “I felt like
I was in rather prestigious
company.” He has curated
a selection of events for the
Festival, spanning visual
arts, music and literature.
“I had the opportunity to
make a performance piece
[Problem in Brighton, at The
Old Market, 10th – 12th
May] which is something
I’ve always really wanted to
do. I’ve done musical things
© David Shrigley
before, in terms of writing
lyrics, but I haven’t really
directed anything. I’ve also
made the musical instruments
– there are seven electric
guitars that I’ve designed and
some other instruments as
well – so it’s going to be quite
a curious piece, but hopefully
it’ll be a lot of fun.”
Another of David’s events,
Life Model II (until 28th May),
has seen Fabrica transformed
into a life-drawing classroom,
centred around a nine-foottall
female mannequin. “She’s
quite weirdly proportioned,”
he explains, “which, as a
person who studied life
drawing at art college and
wasn’t very good at it, is sort
....10....

DAVID SHRIGLEY
.......................................................
© David Shrigley
Still from A Shit Odyssey
of my revenge, because even
if you are good at life drawing
the finished piece is still going
to look badly proportioned.
The joy of the exhibition is
that it encourages people
to make drawings, and not
necessarily feel that they have
to be good at drawing. It’s for
everybody.”
The Festival has always been
an opportunity to open up the
arts to audiences who might
not usually take part, and to
inspire young people to follow
their creative passions. David
talks about the importance
of those early formative
experiences in his own life:
“My family was not interested
in the arts at all,” he says. “I
don’t think I even knew there
was such a career as being an
artist, but I remember going to
see an exhibition at what was
the Tate Gallery - I guess I was
about 14. It was Jean Tinguely,
a Swiss kinetic sculptor, and it
was a really amazing show of
all these machines that he’d
made, which made sounds and
drawings, and for me that was
a real eye-opener. I wanted
to do something like that and
I wanted to make something
like that. It was a real moment
at which I decided, I was
probably never going to be a
professional footballer, I was
going to be an artist.”
“I think my parents were
probably quite disappointed
that I wanted to go to art
school,” he says. “I’m from a
fairly modest background, so
they always felt that working
hard and having a career and
making a living was the most
important thing, and they
couldn’t see how I could
do that as an artist. To
be fair to them, it
never really
occurred
© David Shrigley
to me that I could make a
living either. It turned out
alright in the end.”
So what advice does he have
for this year’s graduating
artists? “Do what you want to
do. A lot of people will tell you
that you shouldn’t pursue this,
but if you’re an artist, whether
you’re a musician or a writer
or a filmmaker, you’ve just
got to do it, and eventually,
somehow, you’ll find a way
of making a living out of it.”
Rebecca Cunningham
brightonfestival.org
....11....

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SPREAD THE WORD
David Elphick and his fiancé Amy took this shot a month into their
travels through South East Asia at the Thai-Lao Friendship Bridge
border crossing. They’ll be gone until June, missing all of this month’s
festivities, so his sister slipped a copy into his case as a reminder of home.
David asked us to say hi to all their friends, and to remind his sister not
to wreck their place while they’re away. Keep taking us with you and keep
spreading the word. Send your pictures to hello@vivamagazines.com
....12....

BITS AND BUSES
...............................
ON THE BUSES #37: ADRIAN BUNTING
ROUTE 12, 12A
Some people burn brighter (and faster) than
others. This was certainly true of Adrian Bunting: a
playwright, director, producer, construction manager,
inventor and compère.
Born in Woolwich in 1966, Adrian initially planned
to study Law in Manchester but quickly switched
to an MSc in Building at Brighton Polytechnic,
where he threw himself into the local arts scene,
regularly appearing with the Festival Shakespeare
Company, founding the Upstairs Theatre Company
and becoming master of ceremonies at the
legendary Zincbar Cabaret at the Basement (the
original, seedier version). It was described as ‘a
gloriously unpredictable crucible into which both
gold and rubbish were thrown’. More theatrical
experimentation was to follow. Not least ‘the
World’s Smallest Theatre’ in which Adrian – and
actress Clea Smith – performed to a one-person
audience in a
custom-made
wooden box,
and the much
acclaimed Kemble’s
Riot, in which he cast the audience as rioters.
Combining all of his talents, he was drawing up
plans for an open-air theatre in the defunct bowling
green in Dyke Road Park when he was diagnosed
with pancreatic cancer in April 2013. Irrepressible
to the end, he spent his last weeks sharing his
plans with friends, urging them to see the project
through to completion, and leaving his life savings
to kickstart the project. He died just four weeks later.
The brilliant BOAT, which opened in May 2015, is
a fitting tribute to his memory (although he might
have been disappointed with the lack of rioting in the
audience). brightonopenairtheatre.co.uk
Illustration by Joda (@joda_art)
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JOE DECIE
...............................
....15....

CURATOR’S CHOICE
.........................................
A REDISCOVERED ARTIST’S HOUSE
ROBERT CHARLES GOFF’S WICK STUDIO
In 2012 I curated my first
exhibition at Brighton
Museum, a display of
around 50 works by the
artist Robert Charles
Goff (1837-1922), whose
etchings and paintings
earned him an international
reputation during his
lifetime. A fervent traveller,
he found subjects for
his art in Italy, Egypt,
Japan, Holland and
Switzerland, but he had
a special connection with
England’s south coast.
He seems to have been
particularly drawn to
Sussex throughout his life
and kept a place in Hove
for the best part of 33
years. His love of Brighton & Hove is reflected
in some of his finest and most popular etchings,
such as The Destruction of the Chain Pier (1896)
and The Metropole Hotel (c1895). He painted and
etched views of the sea, shorelines and waterways
in every phase of his career, wherever he worked
and lived. In one dramatic etching, The South
Cone (c1896) Goff depicts waves crashing
precariously around the end of the West Pier.
Goff moved into a large house on the east side of
Adelaide Crescent in or around 1889. He left the
house in 1903 to move to Italy with his second
wife Clarissa, but kept a studio, complete with a
printing press, in Holland Road until his death in
1922. ‘Wick Studio’ was purpose-built for him in
1895, with more living and working space added
Image courtesy of Alexandra Loske
in 1907. It backed onto his
home in Adelaide Crescent
and was connected to it via
some steps which are still
there today.
Even after he left to live
in Italy, Goff remained
involved with the Brighton
& Hove art scene by
exhibiting his work here
and as a member of the
Brighton Fine Arts Sub-
Committee. It seems that
he got on very well with
Henry Roberts, Chief
Librarian and Curator
of Brighton Museum.
Shortly after Goff’s death
in Switzerland in 1922,
memorial exhibitions were
held at Brighton Museum,
Hove Public Library, and the Fine Art Society in
London. Brighton & Hove Museums acquired
the entire contents of this studio, a collection
which gives a remarkable insight into the work
and methods of an etcher in the late 19th and
early 20th century.
This image shows an etching from 1912 of
Wick Studio and Holland Road. It is a lovingly
composed view of a place that was clearly very
important to him. The mother and child in the
foreground may be significant: Goff’s first wife
Beatrice and their young son Francis died a few
years after they had moved to Hove. Goff also
included a similar view of his studio in miniature
as part of a large index plate for a catalogue of his
work in 1898.
....16....

CURATOR’S CHOICE
.........................................
Image courtesy of Alexandra Loske
I once managed to visit Goff’s large house in
Adelaide Crescent (converted into separate
apartments after he left), and found a couple
of large Moorish mirrors in the hall which he
probably brought back from his travels to North
Africa. As for Wick Studio, it, too, survives in
the now-much-changed Holland Road. Until
recently I thought that no trace of Goff remained
there, but a few weeks ago I was contacted by
Kim and Clive Bolton, who live in the house,
now 4 Holland Road. They invited me to their
home and were keen to find out more about Goff.
It was a fascinating visit, as you can clearly see
the original layout of a generous artist’s studio,
complete with a gallery. In the loft there is even
still an original light pendant for the studio.
Kim and Clive have also discovered the original
designs for Wick Studio at The Keep Archives. It
was very moving to imagine the many hundreds
of etchings and watercolours by Goff that are
now in the collection of Brighton Museum being
created in this space. We are now working jointly
on applying for a Blue Plaque for Goff on his
beloved studio in Holland Road.
Alexandra Loske, Curator and Art Historian
Image courtesy of Royal Pavilion & Brighton Museums
....17....

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BITS AND BOBS
CHARITY BOX #25: BEST FOOT MUSIC
We started around 2008. I’d been
noticing a lot of negative press
towards refugees and migrants. I
remember seeing a story on Channel
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had been attacked – it was terrible –
and there was a clip of this guy getting
onto a bus with this accordion
on his back. That gave me a thought: maybe we could
do something positive to showcase the music and
culture that people bring when they come here.
We do recordings, gigs, and fundraising for musicians
from refugee and migrant backgrounds.
We work as a booking agent as well. At first, if I saw
someone in the street with an instrument I would
just go up and chat to them and tell them about
what we do. There’s a great European Romany band
called Gypsy Stars that I saw busking in Brighton
maybe eight years ago, and I went up to them and
we had a beer and a chat.
We’ve been doing gigs with
them ever since.
We were at Glyndebourne
with a couple of Syrian
musicians recently. There
were all these different people
– filmmakers and writers
and opera singers – all collaborating together. We
get a lot of generic emails from people asking for
‘some refugees’ – it’s very dehumanising. But when
we arrived at Glyndebourne it was like they weren’t
refugees, they were just good musicians who had
something interesting and valid to contribute.
Rebecca Cunningham spoke to Phillip Minns
Day & Night EP by Syrian musicians Jamal and Alaa is
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ARTISTS
OPEN
HOUSES
An unmissable part of Brighton’s
festival season – over four weekends
from 5-28 May, artists open their
doors offering work from over 1,000
artists, exhibiting in 200 venues
across the city, out to Rottingdean,
along the coast to South Heighton
and over The Downs to Ditchling.
aoh.org.uk
Illustration: Melodie Stacey

BITS AND BOBS
...............................
MAGAZINE OF THE MONTH: EXHIBITION
Happy May everyone.
Warmth (hopefully), first
swim in the sea, tons of
Fringe and Festival events to
go to and an overwhelming
amount of art on the streets,
on walls, in hairstyles, being
worn, at exhibitions, by street
performers and more.
So, given that there is plenty
of that, we’re not staying on
theme this month. Instead,
we are highlighting a magazine
that mirrors the great
big, fat gorgeousness that is
Festival month in Brighton.
Exhibition is huge. I mean,
by magazine-size standards, it’s really, really big. If
you come and buy it don’t come when it’s raining
because we don’t have a bag big enough to keep it
dry and you probably don’t either.
It’s been interesting watching people look through
the new issue. All you can hear is people saying
‘Oh wow!’ or ‘It’s gorgeous’ or, of course, ‘A bit
big, isn’t it?’
Exhibition uses the large
format so, so well. It’s a
photographic, documentary,
themed magazine (the
theme this month is ‘Family’)
with words and articles
in English and French. It’s
from Paris and comes out
twice a year.
If you like this sort of
thing, it will simply blow
you away. The quality of
the paper is very high, the
reproduction amazing and
the quality of the images is,
at times, sensationally good.
At first glance, the images
are so overwhelmingly stunning that you’ll skip
the words. Don’t. Exhibition contains some really
good reflective writing and interviews around the
family theme.
You’ll like it. We promise you. Some of you will
like it as much as we do. But you’ll definitely like
it. This month, enjoy the Festival and a great exhibition
(or two). Martin Skelton, MagazineBrighton
TOILET GRAFFITO #40
This month we’re taking the advice on the lavatory
wall and will be getting out and agrout on the city
streets. With rock balancers, backward-facing buses and
semi-intelligent talking seesaws in town, who knows
what we’ll come across.
But where is this toilet tour guide?
Last month’s answer: Presuming Ed
....21....

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@magbrighton
magazinebrighton

JJ WALLER
...............................
Our theme this month – art in the streets – particularly chimed with JJ
Waller, who tells us that sometimes he views the streets as one huge film
set. “When the light, the location and the human presence come together
with a dramatic theatricality,” he says, “I find that the gripping storytelling
potential of the ‘everyday’ can make for compelling street art.”
....23....

BITS AND PUBS
...............................
Painting by Jay Collins
PUB: CAROLINE OF BRUNSWICK
I walk into the Caroline of Brunswick straight after
football practice in my red Lewes FC Vets hoodie,
matching tracksuit bottoms, and trainers, worried that
I’ll look weird. The COB, of course, is home to Brighton’s
oddball tribes – the death metallers, the punks, the
skateboard kids, the elfworld nerds.
Nobody bats an eyelid. The first thing I notice – you
can’t but – is the giant three-headed papier-mache
Cerberus above the bar. ‘TWO PINTS OF STAR’
I get across to the barmaid, above whatever genre of
screaming rock it is that they have on. And a burger.’
Then I have a pleasant chat with a clearly tanked up but
extremely pleasant young man on a stool about the fact
that we’re both with Lloyds Bank.
I’m pointed out that there’s a menu, and I choose a classic
burger with ‘meaty’ chips. My mate Tommy Tickle
is doing the kitchen, and I know from what he’s told me
that ‘meaty’ means that – just like the old days – they’re
cooked in lard.
Last year the Caroline – which, thanks to a space
upstairs, doubles up as a comedy/live music venue,
much loved by the likes of Zoe Lyons and Seann Walsh
– was under threat because Punch wanted to renew the
landlord Cliff’s licence and everyone was worried that
it would become another chain pub and boot out all
the oddballs. There was a campaign – Caroline Lucas
got involved and thousands signed a petition – and the
place was saved.
It’s an old pub, listed in the directories since 1832. Said
directories indicate that it used to be called The Brunswick
Arms, which it remained until the nineties, when
it was given the moniker ‘The Leek and Winkle’, which
you might expect Martin Amis to call a Blair/Blur-era
pub in one of his novels. It became The Caroline of
Brunswick in November 2006, when it was reopened
– after a big refurb – by Cliff, a man, I’m told, with
interesting pinky-purple hair.
I take the drinks into the garden (an unexpected
surprise) and pretty soon Tickle arrives with the food.
I don’t doubt it’s the best feed you can get in town for
a fiver: the burger is plump and clearly home-crafted,
and the chips are to die for, a Proustian path to the
past. Needless to say – it’s that sort of place – we stay
till we’re booted out. If you want three-word version
of this review: ‘Great barmy boozer’. And I didn’t even
mention the pool table. Alex Leith
....25....

Photo by Adam Bronkhorst, adambronkhorst.com
....26....

INTERVIEW
..........................................
MYbrighton: Judy Stevens
Artists Open Houses director
Are you local? No. I’m from London. I moved
to Brighton in 1992. In my previous life I was an
illustrator and a printmaker (as I still am, when I
have the time!) and it got to the point where you
didn’t need to live in London. Everything was
going online and it was easy to work from home.
Why did you choose Brighton? To be honest,
I really fancied going somewhere like Barcelona
and my partner Chris really fancied Glasgow, so
we chose Brighton. I haven’t missed London for
a moment.
How did you get involved with Artists Open
Houses? The roots of it were in the 70s when
a group of local artists opened their studios.
Then, 37 years ago, Ned Hoskins had the idea of
opening his house instead of his studio as part of
the Brighton Festival. Soon more houses opened
in Fiveways and more trails followed. The Artists
Open Houses became part of the Fringe with
each area also creating their own individual maps.
By this time we had moved to Brighton and I was
already participating in the Open Houses. Chris
is a graphic designer, so we had the idea of creating
a brochure that included all of the houses -
150 at that time - and suddenly we had a festival.
How has it changed over the years? It’s always
been a really important showcase for established
artists and makers - the quality of work is amazing
- but now there are an increasing number
of younger, emerging artists working in new
ways, not necessarily making work to sell. It’s an
opportunity to put their work in front of gallery
owners and a massive public audience. There are
also quite a few community venues showing work
by excluded and outsider artists; artists who are
marginalised maybe through learning difficulties,
mental health, drug or alcohol issues, or others
who have experienced homelessness. As far as
we know it’s the biggest festival of its kind in the
country. We have 200 venues with an average of
8-10 artists in each. There are different things for
different audiences and in any one trail you might
experience them all. That’s a big part of it, the
serendipity of not knowing what the next house
will be.
Do you still open your house? Not anymore,
we can’t. It’s quite disruptive turning your house
upside down and just at that moment when
you’ve got to be preparing, we’re busy getting
the brochures out. We want to be able to visit
as many of the houses as possible, to see what
everyone is doing.
Aside from the Artists Open Houses, what do
you like most about Brighton? It’s a really good
size. You can get to know it well but there’s always
a new bit to discover and so it never gets boring.
You can get to grips with it.
What don’t you like about it? Apart from it not
actually being Barcelona… I occasionally hanker
after being in the countryside and having a studio
where I can get on with printmaking without
having to worry about anything else.
Where’s your favourite place in the city? We
live just up from the station, so I have the Battle
of Trafalgar (the best pub in Brighton), the Sussex
Yeoman (the best place to eat) and my gym right
there, so I very rarely have to go anywhere else.
Where would you live if you didn’t live here?
I quite like Lewes, or Lisbon. With everything
that’s going in the UK at the moment, the rest of
Europe does seem very attractive.
Interview by Lizzie Lower
....27....

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PHOTOGRAPHY
....................................
Tony Tree
Snaps on the steps
I was invited by the
Unitarian Church on
New Road to take some
photographs as part of the
project to conserve and repair
the historic portico. We
wanted to cover the builder’s
hoardings in photographs that
reflect the life of the church.
I started in 2016 and visited
all through last year. I began
photographing the ceremonies
and the people who use the
church, but we quickly decided
to take it out into the street
too. The portico is a natural
auditorium, complete with
proscenium arch.
I’ve photographed all sorts of things on the
steps: one-legged seagulls, buskers, rough sleepers,
performances in the Fringe, marriages, one
wedding with four people and a couple of dogs…
it’s the very essence of the city. If it’s happening in
Brighton it’s happening on New Road, from its
rough edges to the polished.
The street reflects the church and what
happens in the church reflects the street.
They suit each other. The eclectic stuff that
happens in that church is extraordinary but
hidden by those great red doors. There’s African
drummers, baby yoga, meditation classes, tango
nights, gigs, Brighton & Hove Gay Men’s Chorus
and, on Friday afternoons, there are the most
extraordinary concerts with first-class musicians.
I’ve photographed all the different instruments
over the year and have built up an entire orchestra.
I remember New Road from way back. My
early days were spent at my gran’s house in
Upper Gardner Street and my first school was
the Central School, now the
site of Carluccio’s. My father
was an antiques dealer and
we regularly visited an art
dealer where Pinocchio’s is
now, and when I worked as a
photographer at The Argus, the
pubs there were a big part of
our lives. One of my earliest
memories is winning the baby
show in the Pavilion Gardens
in 1948. I was three!
It’s always been a
characterful street. It
was originally called The
Promenade and it is a
promenade. There are posers,
flâneurs, people drinking
outside the pubs… It’s just the most wonderful
thoroughfare. It was a gift of a job for me. I was
always walking though there, not necessarily every
day, but an awful lot. I can’t stop doing it now. I
was walking past the Theatre Royal the other day
and there was a beautiful image of a guy playing
cello in the colonnade. I don’t think the project
will ever end for me, but it’s on pause for now.
The city will miss the portico whilst the work
is completed. It’s a very social space. The world
sits there to have its lunch and, when you do,
people come to talk to you. It’s an engaging space,
an amazing building and a really nice community
that use it. The church doesn’t mind that the steps
are so communal, they just put a sign outside
saying; ‘No busking please. Service in progress.’
As told to Lizzie Lower
The renovations, funded by the Heritage Lottery
Fund, are expected to be completed by November.
Tony’s photos will be displayed both inside and
outside the church for the duration of the project.
Photo by Adam Bronkhorst, adambronkhorst.com
....29....

PHOTOGRAPHY
....................................
Photos © Tony Tree
....30....

PHOTOGRAPHY
....................................
Photos © Tony Tree
....31....

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PHOTOGRAPHY
....................................
Photos © Tony Tree
....33....

PHOTOGRAPHY
....................................
Photos © Tony Tree
....34....

PHOTOGRAPHY
....................................
Photos © Tony Tree
....35....

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COLUMN
...........................
Lizzie Enfield
Notes from North Village
A colleague recently returned from a press trip to
Hamburg, where his tour guide left a trail of small
creatures made with Hama beads. “Street art,” he
informed my colleague, placing various pocketsized
rabbits, cats and birds in public places. My
colleague was dubious but I rather liked the idea.
I once saw a comedian advocating a whole new
pointless way of living: “see if you can get oranges
to rhyme with sausages,” he cajoled, rousing the
audience by asking them to chant lines ending
with both words and the encouraging “If you try
hard enough, you might find sausages and oranges
do rhyme.”
They never did. But we had fun trying.
The same comic said he often left eggs in people’s
gardens, as talking points.
“Imagine Florence and Alfred at number 73
haven’t actually spoken to each other for years.
Then, Flo draws the curtains one morning and
tells Fred to get out of bed and look at this.”
He mimed Fred going to his wife, who he no
longer had anything left to say to.
“What is it?”
“An egg!”
Suddenly they are chatting away over breakfast.
“How did it get there? Who left it? Why? Is it
art?”
A few months ago I woke to see a woman planting
a series of small crosses at apparently random
intervals across the grass in the local park.
I toyed with the idea that it was some sort of
memorial, the fallen of Blaker’s Park during the
war perhaps? Or the #MeToo women of the North
Village? Or perhaps an art installation?
Turned out she was highlighting the amount of
dog’s mess in the park. But still, it did look pretty.
And now there’s a new installation that’s being
talked about almost as much as if it were a Banksy:
a pair of maroon corduroy flares, abandoned on
the footbridge crossing the railway line.
Suddenly all the neighbors are chatting about
them.
“Have you seen the trousers on the railway
bridge?”
“What size are they?”
“Best place for them.”
“If there was a burgundy tank top with them, then
they’re mine.”
“Marooned!” Boom boom.
And then mysteriously, the trousers moved from
the south to the north side of the bridge where
they were arranged, rather than dumped: slung
over the railings in a suggestive way, if maroon
corduroy flares can ever really be considered
suggestive.
“Perhaps they’re part of the festival?” suggested
someone standing at the foot of the bridge where
there’s a little stenciled cat – like an actual Banksy.
“More likely the owner was stripped and arrested
by the fashion police.” This, from one of the ubercool
teens in the street.
I told her that I used to have a very similar pair
myself in the 70s.
She replied, coolly: “A lot of things happened in
the 70s that society no longer condones.”
This seems like a good title, for a street art exhibit.
Illustration by Joda (@joda_art)
....37....

COLUMN
...........................................
John Helmer
Traffic
Illustration by Chris Riddell
The carpet is swirly, the walls half-timbered.
The ceiling has a honeycomb-coloured patina
that dates the interior as pre-smoking-ban;
pre-the relentless tide of gastrofication that
has swept through pretty much every pub in
Brighton. You have to come deep into the sticks
for this. There is a plate rail, horse brasses. An
outside gents with a leaky roof. It is the pub
that time forgot, and penetrating its portals our
exposed middle-class knees go weak.
I’m out for a spin with some MAMiL friends
(Middle-Aged Men in Lycra), one of whom
pulls out his phone and asks the landlady if
it’s OK to take a photograph of the hallowed
interior.
“All right, but I’ll have to keep me mouth shut,”
she says, assuming he’ll want her in it; “me
plate is off at the dentist being fixed—I’ll never
eat a Double Decker straight out of the fridge
again…”
Priceless. We order drinks and huddle in
the back bar, admiring the wall display, an
inexplicable juxtaposition of antique guns and
Dinky cars.
A local couple come in, nod to us and strike up
conversation. We mentally brace. Will the talk
turn to Brexit? Please God don’t let the talk
turn to Brexit. But all they want to talk about is
traffic.
“I was on that coast road for twenty minutes.
They had some show or something going
on. And then up by the Pavilion there was
something causing a jam. And other stuff near
the Town Hall… they ought to think about
it before they book these things all at once,
oughtn’t they..?”
“Nice guy,” I say to Simon later as we saddle up,
“but it’s as if he doesn’t get how a festival works.
Like the council just made this terrible series of
scheduling errors - ‘d’oh how did we do that?’ -
you imagine them whacking their foreheads in
disbelief - ‘booked a whole year’s-worth of arts
events in one month! What were we thinking!
The traffic problems! If only we’d spaced the
shows out through the year...’”
We resume our ride full of nostalgic longing
for the ideal, the platonic pub; the pub of lost
content that we have found. We know this place
is unique. To call it a waystation on our ride
would be to traduce an itinerary that always
centred on it, right from the very beginning.
The point of the whole day, really, was to visit
The—
But I’m not going to tell you its name, or where
it is. If I did you might go there, and like it (on
Facebook, even) and tell your friends… and
within six months the floors would be sanded,
the walls stripped, and they’d be serving linecaught,
beer-battered cod with a minted pea jus
and thrice-cooked hand-cut chips in a stupid
wire basket and it would all be over.
Over.
In the words of the great Frankie Valli, let’s hang
on to what we’ve got.
....39....

We also run
regular fused
glass workshops -
dates for 2018
now available.

COLUMN
...........................
Amy Holtz
The truth is, I’m a Minnesotan
It’s official – we can stop
being so angry now, because
apparently it’s spring. Cats,
even the feral ones, are being
stroked in the street. Babies
look cuter. Faces emerge
tentatively from tightened
hoods with just a flicker of
an upturned lip. The runners
are out, making the rest of
us look bad. We are spring,
spring is us.
Stoicism is one of this
country’s most admirable qualities and so I’m
sitting outside a drinking establishment with a
friend, practising fortitude, and shivering. Let’s
be honest, it’s a stupid thing to do and everyone
knows it, but we’re all desperate to pretend it’s
not that cold out. Two girls walk past in what
my grandma used to purchase in pastel bulk
and call ‘pedal-pushers’ (not sure why) and
I have a chuckle to myself while shaking out
my numb fingers. Their ankles are a mosaic
of goosebumps and for a second, one of them
breaks the ice of this absurdity, absently tugging
up the useless elastic of her retro gym socks.
It’s kinda beautiful, this suffering. But then a
man saunters past, leans against the stoplight,
waiting for the green guy. He’s wearing shorts
and Birkenstocks and walking a chihuahua (who
is also shivering).
“I can’t wait till May, when it’s warm.” My friend
leans back against the pub as I stare at her,
incredulous.
“Where on earth have you been May-ing?
Bermuda?”
Because, honestly, I can’t remember a Great
Escape without wet clothes, every underground
venue in Brighton smelling like a poodle
drenched in stale Red Stripe
seasoned with patchouli. Or
gamely attempting to be the
first person to rush the mud
to those exposed lawn chairs
at the Spiegeltent, playing our
collective favourite game of
looking smug while bracing
the merciless, icy whip of
20mph winds. The thing
that really gets me, though,
is that outdoor beers, much
anticipated all winter, are
somehow always lukewarm, despite the arctic
temperatures. It’s a special knack we seem to
have here in Brighton, like juggling, or pebblewalking.
“Naw, seriously. It’s always like mega-hot in
May.”
This is a truly astounding claim.
“No, it’s really not. You must be in some sort
of denial because for as long as I’ve been here,
a massive dark cloud monster with a soggy
bottom sits on top of Brighton for the duration
of May and then gets up to do something else
as soon as June rolls around. But by then all
the fun stuff’s been packed away – the crazy
Fringe shows with amateur magicians in cattle
boxes, the over excited pre-pubescents with
fireworks, the over excited, drunk adults with
fireworks, the circus, the mimes, the copious
street drinking.”
“Well, it was warm last week.”
Ah yes. The old ‘it was balmy for two minutes in
April’ argument. That one never gets old.
“It was, you’re right.” My pint glass is freezing,
but the beer inside – just as I suspected – is as
tepid and flat as my false hope. “But I’m not
gonna hold my breath.”
....41....

MUSIC
..........................
Ben Bailey’s Great Escape picks
ARTISTS FROM OUT OF TOWN
Photo by Charlotte Patmore
KOJEY RADICAL
The trajectory of Kojey Radical’s move from artist
and poet to musician has propelled him into a unique
place in hip hop. Emerging at a tangent from a scene
dominated by grime, this East London rapper has
forged a wholly unique sound and the beginnings
of an intriguing career, almost entirely on his own
terms. The fact he lost out on a Mobo award (twice!)
might have even helped. As a socially conscious lyricist,
Radical made a big impact with intelligent and
searching tracks like Kwame Nkrumah and Bambu,
but has since sidestepped the political pigeonhole.
His most recent release, If Only, combines jittery
spoken word with a strident chantable chorus. He’s
an inventive maverick, but a crossover hit can’t be
far away.
GOAT GIRL
Humble, a little
weary and defiantly
lo-fi, Goat Girl
are an all-female
four-piece with silly
stage names and
songs so short they
rarely hit the three-minute mark. The band’s debut
album came out last month and featured 19 tracks
across 40 minutes, each a curious blend of retro
styles and of-the-minute sensibilities. Hailing from
the same South London scene that gave us bands
like Shame, Sorry and Fat White Family, Goat Girl
offer a hazy musical snapshot of life in a city on the
skids. Lead singer Clottie Cream delivers her wry
lyrics with a kind of Lou Reed fatalism, occasionally
tipping into real anger on songs about burning Tories
and wanting to smash the heads of guys filming her
on the train. Musically, it’s a mix of post-punk and
60s garage, with sisterly harmonies and sassy tunes.
ALEX THE ASTRONAUT
Alex Lynn’s musical
career took off when
she was studying maths
and physics on a football
scholarship at Long
Island University. Having
returned home to Australia,
her plans to do a PhD
in astrophysics have now been put on hold due to the
unforeseen popularity of her breezy and upbeat folk
pop. That this 23-year-old can succeed as a sportswoman,
an academic and a musician might make
some of us feel a little inadequate, but luckily her
precocious talents are matched by humble charisma
and disarming lyrical honesty. Alex The Astronaut’s
simple storytelling style taps into a tradition of frank
female songwriters from Suzanne Vega to Courtney
Barnett, while her ‘coming out’ hit Not Worth Hiding
became an unofficial anthem for the ‘Yes’ campaign
in the Australian gay marriage vote.
GAFFA TAPE SANDY
Comprised of three ‘very nice, polite young people
from a picturesque market town in rural East Anglia’,
Gaffa Tape Sandy know they are ‘a publicist’s nightmare’,
yet the trio’s upfront music is capable of doing
the work of a thousand press releases. A set on the
BBC Introducing stage at Glastonbury last year was
a turning point for the self-effacing band from Bury
St Edmunds, and they’ve since received rave reviews
for their fuzzed-up and frenetic alt rock. The group
provide all the ingredients you need for a good indie
gig: top tunes, a great sound and faintly disturbing
yet tongue-in-cheek lyrics. In short, the trio offer the
adrenaline rush of early Ash singles, the mischievous
melodies of Violent Femmes and the satisfying guitar
crunch of The White Stripes.
Thursday 17th - Saturday 19th May
....42....

MUSIC
..........................
Ben Bailey’s Great Escape picks
LOCAL TALENT
GRACE CARTER
Grace Carter’s ex
boyfriend must be
feeling kind of weird
right now. The
Brighton singer has
seen her star rise
sharply this year on
the back of a handful of singles, all inspired by personal
heartbreak. The straight-up honesty of songs
like Silhouette and Ashes gives her soulful vocals a
real emotional punch, depicting relationship fallout
with an intensity you no longer expect from R&B
ballads. Having grown up listening to the likes of
Nina Simone and Lauryn Hill, the 20-year-old
singer also knows her way around a lyric, making
her troubles relatable with hooks to boot. Carter
has toured with Dua Lipa and Rag‘n’Bone Man
and has a summer of festival appearances, and much
more besides, ahead of her.
GENDER ROLES
Anyone after some unadulterated grunge rock
should listen out for this thrashy guitar band from
Brighton. Though their name suggests they might
be a riot grrrl group, Gender Roles are actually a
trio of lads inspired by a slightly different vein of
American alt rock. If we’re talking 90s touchstones,
let’s just say they owe more to Kurt than Courtney.
Other influences include Tubelord and Wavves and
you can tell they probably listened to their fair share
of hardcore and emo back in the day. Though they
only got going two years ago, the band have already
bagged plenty of radio play as well as support slots
with Jamie Lenman. Gender Roles’ second EP
came out last month, and they’ve just got back from
a ‘free entry’ headline tour of the UK. They’re off
again with Touché Amoré later in the year.
BREATHE PANEL
With a jangly and shimmering guitar tone that
wouldn’t seem out of place on a Sarah Records
compilation, Breathe Panel sound more relaxed
than most current indie bands, even when the music
is rounded out with soaring vocals and pulsing
motorik beats. It’s a little bit shoegaze, a little bit
garage. The sort of thing you’ll ease into and fall for
without noticing. Started by two childhood friends
who moved here for uni, the band was forged
through a shared love of West Coast Americana,
krautrock and drone music. Their debut album
is due in July and was produced by Hookworms’
MJ, to be released on local label FatCat Records.
After sharing stages with Big Moon, Quilt and
Honeyblood, this year’s Great Escape could be the
moment when Breathe Panel’s vista really opens up.
WHITE ROOM
A string of top festival slots
put White Room on the
map for many last year,
though they were also
helped along by a glowing
recommendation from Paul
Weller. In fact, Weller was so impressed he booked
the band to support him and even gave them time
in his studio. This Brighton five-piece have certainly
nailed their style, borrowing from 60s guitar pop
(The Kinks, The Beatles) to make an anthemic and
danceable modern version of what they call ‘surrealist
psych-pop’. White Room have a great frontman
in Jake Smallwood and some suitably kooky ideas
(their debut release was a double concept EP based
on the number 8). Their recent single, Twisted Celebration,
comes with a video of the band frolicking
on the carousel on Brighton beach. Warning: may
contain paisley.
greatescapefestival.com
....43....

Photo : Billy Merson as ‘Idle Jack’ at Brighton in 1910

LITERATURE
....................................
Blake Morrison
at Charleston Festival
You’re appearing at
Charleston Festival this
month to talk about
your latest novel, The
Executor. What do you
make of the rise of
festivals? In general they’re
a good thing – a chance
for writers to meet their
readers and vice versa. The
smaller the festival, the
greater chance there is of
that happening. Charleston
is one of the best organised
and most congenial.
The Executor tells the
story of Matt Holmes,
who is asked by Robert
Pope to oversee the
terms of his will. When
Pope dies suddenly Matt has to negotiate
the rather contradictory terms of the will
and the concerns of Pope’s widow, Jill. Do
you have experience of being an executor
yourself? I haven’t appointed a literary executor,
and though I’ve agreed to act as one, for a
friend, he’s younger than me, and with luck I’ll
never be called on. Many writers leave behind
contradictory instructions in their wills. Often
they’ll ask for work that embarrasses them, but
which deserves to be preserved, to be destroyed.
If wills were followed to the letter, then we
wouldn’t have Kafka’s novels. Executors have to
weigh up how best to serve the author’s interests.
Sometimes they’re loyal, paradoxically, by
betraying them. After all, if writers really want
things they’ve written to be destroyed, why not
do it themselves?
A lawyer briefs Matt on the law concerning
literary wills in the novel.
How did you research this?
At an academic conference
on ethics and life-writing
at Goldsmiths a few years
back, I heard a very good
talk by a lawyer. Afterwards
I followed up some of the
cases he’d alluded to as well
as finding a few more – all of
them relating to the eternal
war between the right to
privacy on the one hand, and
freedom of expression on the
other.
Robert Pope’s will sets
off the action of the
novel. You make him a
poet, not a novelist, a
playwright, or a memoirist.
What was it about making Pope a poet that
appealed to you? It wasn’t a deliberate choice,
more serendipity. I wrote the poems first, over
a number of years, didn’t feel they were really
‘mine’, began to see how they could form part
of a novel, and then developed the character of
Robert Pope – revising the poems and adding
new ones as I went along.
At one point Matt reflects on what makes
a great writer. Have you thought about this
yourself? I think about it all the time, but I don’t
have any answers beyond the obvious. Style,
subject matter, intelligence, a responsiveness
to the zeitgeist that also addresses the eternal
verities – all play their part.
Interview by John O’Donoghue
Blake Morrison is in conversation with Hermione
Lee at the Charleston Festival, 5.30pm, 20th May.
charleston.org.uk/festival
....45....

Photo © Julia Willms
COMEDY
.............................
How to Be Yoncé
A beginner’s guide
Times are hard and yet Beyoncé seems to have it
all. Stephanie van Batum and Stacyian Jackson are
bringing their easy guide to being more Bey to the
Fringe. Stephanie tells us how to get started.
It came about as kind of a joke. I was thinking
about my graduation piece from theatre school and
I actually wanted to make Romeo and Juliet, then I
said to my friends ‘or we could just make a show
about Beyoncé’ and then we were like, ‘maybe we
do make a show about Beyoncé...’
What would it be like if we made a YouTube
tutorial? You know these things, ‘ten steps to do
your makeup like Kim Kardashian’, where everything
can be self-taught through a tutorial. We
thought, ‘if Beyoncé is such an icon, the example of
a woman who has it all - mother, wife, singer, dancer,
sexy, feminist, business woman - then maybe
we could make a tutorial on how to become her’.
It’s an ironic take on the idea that you can become
anything as long as you work hard enough.
We thought, ‘what are the bits and pieces that
Beyoncé is made of?’ When you break it down
it’s not that hard. The basic things come first, like
the voice, the moves, then at a certain point we
realised that everywhere she goes, there’s wind
blowing in her hair. So, we were going to need a
wind machine.
The whole thing is presented as a seminar.
We explain the essential dance moves, how to be
a feminist (but a sexy one), and how you need an
alter ego of course (like Sasha Fierce or Yoncé).
The audience can dance and sing along and we
give them assignments for homework. By the end
of it, they are all in the Beyhive.
Of course, the deeper lying meaning of the
piece has to do with feminism, identity, gender
and race. Me and my friends talk about how it’s
not easy being a woman these days. You have to
have everything and if one piece is missing you’re
clearly a failure. We have to make a joke about it.
Be a feminist… but you also have to get married
to Jay-Z? It’s also a piece about appropriation art.
Beyoncé copied and borrowed from a lot of other
artists and everything that we do in the show is
copied from things that she did. So, it’s a copy of a
copy of a copy, which is an interesting artistic idea.
We performed in Berlin and Cologne and it
was a spectacular hit with the LGBTQ community
but it’s also for straight men, 80-year-old
grandmothers, teenagers… It doesn’t matter if
you’re a man, woman, black, white, old, young, fat,
skinny, rich or poor; this is the most democratic
way of becoming more Beyoncé. It’s about celebrating
who you are, embracing your flaws. You
don’t have to have it all. But you can pretend that
you do… As told to Lizzie Lower
Don’t Worry be Yoncé. The Warren, 1st-3rd June,
£8.50/£11
....46....

THEATRE
....................................
Before Willard
The Lives They Left Behind
Suitcases full of photographs, books of poems,
unmarked graves; this is the secret and tragic world
of Willard State Hospital. Director Laura Holland
talks about bringing forgotten histories back to life,
in the open air.
Lucy Flack, my co-director, came to me and
said, ‘I’ve found the most fascinating thing, The
Suitcase Exhibit.’ The exhibit’s online, but there’s a
book with the same name which chronicles patients
at the Willard State Hospital in New York. Some
were there for up to 75 years – until their death.
We were so intrigued by these people’s lives
and by what was in their suitcases, and we thought
their histories would make captivating theatre. So
we got our detective heads on, piecing together
clues, trying to imagine what their lives were like
before the asylum. One patient, Irma Medina, had
over 150 pages of sheet music in her suitcase! Irma
was a songstress who lived during the Depression.
Her landlady accused her of ‘queer behaviour’, like
hearing voices; she also struggled to pay her rent. It
feels like a minor thing, but it lead to institutionalisation.
She spent 40 years at Willard.
One of our biggest challenges was putting together
stories that didn’t cross over the same span
of time; the asylum opened in 1869 and closed in
1995. So we know more about some patients than
others, and there are conditions we know so much
more about now: one patient was a photographer
who was epileptic, but they didn’t understand seizures
at the time. He underwent a trephine – where
they drilled into the right side of his skull, to try to
improve things. But it made him worse and they
couldn’t cope with his condition. That’s why he
was put in the asylum. He lived his whole life there,
with no hope of going back out into the world.
The Lives They Left Behind is quite a dark,
haunting piece, but there are moments of light.
Patients were buried in unmarked graves and lived
their whole lives in an institution, completely forgotten
about; we wanted to give them an identity.
The gravedigger, Lawrence Marek, was paid a
couple of dollars to wrap the bodies so the staff
wouldn’t have to do it; he buried over 900 patients.
When he died, tragically, he was buried in the same
cemetery, in an unmarked grave.
We introduced the actors initially to the exhibit
itself, with small excerpts of people’s histories.
They have an emotional connection to the stories
now – a responsibility to shed some light on these
people’s lives. At the end of the piece they wanted
to become themselves and talk honestly about the
people’s stories.
Our company is made up of people aged 16-19
and we have a cast of 50 – which might be unheard
of at the Fringe! And we’re nervous about performing
outside. But we’re excited – just hoping the
weather holds out...
As told to Amy Holtz
Brighton Open Air Theatre, 9th May, 7.30pm
....47....

BRIGHTON MUSEUM
& ART GALLERY
28 APRIL TO
2 SEPTEMBER 2018
Gilbert & George EXISTERS 1984.
ARTIST ROOMS Tate and National
Galleries of Scotland. Acquired
jointly through The d’Offay Donation
with assistance from the National
Heritage Memorial Fund and Art
Fund 2008. © Gilbert & George.
Admission payable
Free for young people (under 26) & members
brightonmuseums.org.uk
The ARTIST ROOMS touring programme is delivered by the National Galleries of Scotland and Tate in
a partnership with Ferens Art Gallery until 2019, supported using public funding by the National Lottery
through Arts Council England, by Art Fund and by the national Lottery through Creative Scotland.

THEATRE
.............................
Photo by Sally Jubb
Adam’s journey
Egypt to Scotland, woman to man
Director Cora Bissett discusses Adam, the remarkable
true story of a young transgender man’s journey
from Egypt to Scotland to find hope, honesty and
himself.
Sometimes you don’t know why something
affects you so deeply. I saw Adam give this
monologue about his life – an endearingly humble
teenage kid, telling this incredibly brave story.
He grew up up in Egypt, where people barely
recognise homosexuality, let alone transgender
people, so he simply had no awareness of it. He
travelled to the UK out of fear, and he didn’t even
know he could claim asylum – he just knew he had
to get out. There’s something extraordinary about
a young, transgender male, landing in Scotland of
all places, in this little flat in Glasgow, and, through
his laptop, discovering who he is.
We’re so used to hearing about violations of
people’s rights and cruelties through the internet
– more so right now than ever. But on the
flip side, Adam accessed a worldwide community
of people like himself, just by typing ‘I feel like I’m
going mad, I feel like a boy in a girl’s body’ and
receiving an ocean of responses from all over the
world. I don’t know how Adam would have found
those people in everyday life – or a way to describe
what he was, but watching other people go through
it online gave him the confidence to do it himself.
It feels like a story of our times, in a crucially
urgent, original way.
There’s an incredible TED talk by Eric
Whitacre, an American classical composer,
about creating a virtual choir. I wanted a theatrical
way to reflect how Adam was supported and
strengthened by all these people when he met on
the internet, so I asked Eric if he minded doing
something similar for Adam. We connected with
over 150 people from as many far flung places
as we could – Norway, Nigeria, Portugal, North
America. Jocelyn Pook created a beautiful piece
of music, so singers just put their headphones on,
sang along and sent it back to us. Everyone in the
choir is transgender or non-binary – some from
places where it’s very dangerous to be out. We’re
bringing out a book charting the stories of each
singer as part of the Mental Health Arts Festival in
Scotland in May.
Many people don’t realise that Adam plays himself;
there’s power in the fact that he’s onstage
sharing his life with you. Adam was initially happy
for me to use his story, but I just couldn’t find
the right person to play him onstage. But then he
called me and asked if I would consider auditioning
him. He had real raw talent, so much emotional
authenticity. We were concerned that it would be
too difficult for him to keep reliving his life. But
Adam’s in such a good place now, happily married
and settled in Glasgow. He’s gone on an extraordinary,
honest journey – both in life and as an actor.
People can see he’s a beautiful human being, trying
to live well and be happy. As told to Amy Holtz
Theatre Royal, 9th-12th May
....49....

4.6 | Green Door Store, Brighton
Rival Consoles
9.6 | St. George’s Church, Brighton
Neat Neat Neat present
Julie Byrne
11.6 | Komedia, Brighton
Laura Veirs
22.6 | St. George’s Church, Brighton
Eric Bibb
17.7 | The Hope & Ruin, Brighton
Fazerdaze
29.8 | Komedia, Brighton
The Freewheeling
Yo La Tengo
17.9 | Komedia, Brighton
Lost Horizons
23.10 | Komedia, Brighton
Tunng
9.11 | The Old Market, Brighton
Gruff Rhys
27.11 | Ropetackle, Shoreham
LAU
BIG GIRLS DON’T CRY
Sat 5 May
PAW PATROL LIVE!
Sat 8 & Sun 9 Sep
THE KING IS BACK
Sat 1 Sep
CHAMPIONS LEAGUE
OF DARTS
Sat 22 & Sun 23 Sep
Tickets for shows are available from your local record shop,
ticketweb.co.uk or the venue where possible.
meltingvinyl.co.uk
box office 0844 847 1515 *
www.brightoncentre.co.uk
*calls cost 7p per minute plus your phone
company’s access charge

COMEDY
.............................
Baba Brinkman
Rap scientist
There can’t be many rappers
who focus on the science
of evolution and global
warming, and probably even
fewer who perform at climate
conferences. Canadian
rapper Baba Brinkman does
just that in his Rap Guide to
Climate Chaos.
Rap and science are unusual
bedfellows – do you ever
have trouble explaining
what it is you do? It’s easy to explain what I do: I
communicate complicated scientific ideas through
rap songs (and comedy). Done. The trouble comes
from the inability of most people to imagine how
that could possibly work, until they see it. Recently
Adrian Baker tweeted ‘I was skeptical about rap-science…
but wow was I wrong!’ and I tweeted back
‘Skepticism of science rap may turn out to be one of
the fundamental elements of the human condition.’
So yeah, I’m swimming upstream, but it’s good
exercise.
What a does a Rap Guide to Climate Chaos
contribute to the public debate? The big mystery
about climate change isn’t what’s causing it, or how
dangerous it is. The real puzzle is the social psychology
of it: the way most people are able to fully
accept the threat and continue with their lives unperturbed,
with no plans to change their behaviour.
And I include myself in this assessment. At its heart,
climate change is a collective action problem, also
known as a tragedy of the commons. So what’s the
solution? Finding ways to move the crowd. That’s
where rap comes in.
How did you come to perform at the Paris
Climate Conference? An organization called the
Coalition for Rainforest Nations invited me to join
their team at the conference.
My main job was to attend
daily meetings, listen to the
substance of their negotiations,
and write a custom rap
summary (a ‘rap up’). The
response was initial skepticism,
followed by disorientation,
realization, and finally
elation. It was awesome.
How much progress has
been made since then?
The cost of renewables is falling, but as long as the
underlying incentive structure rewards polluting,
we’re on a direct path to stunning sea level rise
and increasingly extreme weather. The biggest
obstacles? Donald Trump, followed closely by
Scott Pruitt, Ryan Zinke, Rick Perry, human greed,
apathy and tribalism.
Tell us about your other shows… My Rap Guide
to Consciousness is running off-Broadway in New
York all spring and Canterbury Tales Remixed was at
the Edinburgh Fringe in 2014. I also have a new
show about learning and culture as a Darwinian
process that’s complementary to and continuous
with genetic evolution. How else can you explain
the worldwide dominance of hip-hop, which blew
up entirely in my lifetime?!
Why is hip-hop such a powerful medium?
Hip-hop as an art form wasn’t invented by any one
person. It’s a product of cultural evolution, with
small variations accumulating - norms, technologies,
ideas, styles - based on the outcomes they
produced, which in the beginning was all about live
performance and competition. Hip-hop has the
power it has because of what it went through to get
here. Where it evolves next is up to us. Ben Bailey
Komedia, 21st May, 7.15pm/9.15pm, £10
Photo by Olivia Sebesky
....51....

Dv8 Artist Open House
A selection of work from staff and students
Central Trail - House 8 12 Queen Square, Brighton, BN1 3FD Weekends and Bank Holidays in May, 10am - 4pm

Photo by Thomas Allison
Photo by Liz Grossman
PERFORMANCE
.............................
Mortified
Share the shame
For the uninitiated, Mortified is the ‘cultural
phenomenon’ in which adults take to the stage to
share embarrassing artefacts from their childhoods
– diary entries, short films, poetry – with
both the live audience and the online community
of podcast listeners and Netflix viewers. Since
the first stage shows in LA in 2002, Mortified has
spread across the US and Europe. This month,
the first ever Brighton shows take place at The
Warren as part of the Fringe. We speak to Reuben
Williams, one of the show’s producers.
Sometimes people don’t know that something
they’ve written is funny, or they don’t know
why it’s funny. What we do is between us we will
go through the material with them and pick out
the best bits. We work very hard to make sure the
person going on stage can be confident that it’s
going to work and it’s going to be entertaining.
Sometimes when you understand something
better it’s a lot funnier, so we ask them, ‘why were
you doing this? What kind of kid were you?’
One woman came to us with a lot of poetry
she had written as a teenager, but she hadn’t
realised that so much of it was about a crush she
had on one of her teachers. She had basically
written a whole anthology of love poems. It
wasn’t until we started probing her that she
realised that was what it was.
A big theme is obviously romance and sexuality
– finding the perfect partner, first crushes,
or sometimes discovering that your sexuality isn’t
what you thought. But it’s also a time when relationships
with your family become more stressful,
you have more independence, and so you’re
redefining those relationships. And self-identity:
wanting to be cool or wanting to be an artist or
a poet or a lad. Your teenage diaries are basically
you chronicling your attempts to change into the
person you want to be.
What makes people want to do it? I wish we
knew. Most people have seen the show or listened
to the podcast and think it’s a really funny
premise. A lot of people have said that it’s quite
cathartic, quite therapeutic. It’s self-deprecating,
but it’s acknowledging the ways that you’ve
changed and grown. It’s a tool of self-enquiry. In
some ways it’s completely nerve-wracking. But
on the other hand, the audience are so warm, so
lovely. It’s a celebration of our frailties and our
shared humanity.
We always finish the show with the closing
line: ‘We are freaks, we are fragile, and we all
survived.’ As told to Rebecca Cunningham
The Warren, 30th-31st May, brightonfringe.org
....53....

Photo Courtesy of The Leonard Bernstein Office, Inc.
£10
ONLY
£
Tickets available from
brightonfringe.org
St Paul’s Church,
West St, Brighton
BN1 2RS
(between Clock Tower
and Odeon Cinema)
Producer: Norman Jacobs
WED 9 MAY 7.30pm – Anna Litvinenko
Bernstein, Britten, Copland for cello & piano
WED 16 MAY 7.30pm – Rachel Gorman,
Steve Dummer, Norman Jacobs Bernstein,
Stravinsky, Feldman for violin & clarinet
WED 23 MAY 7.30pm – Rebecca Griffiths,
Daniel Lauro, Norman Jacobs Bernstein,
Messiaen, Mayuzumi for flute, piano,
percussion – Premiere of VLUG
by Stephen Montague
WED 30 MAY 7.30pm – Mehreen Shah,
Zhanna Kemp Songs by Bernstein,
Sondheim, Weill
Songs from Syria
©Gerard Collett
iyatraQuartet with the Saleh Brothers
Brighton Open Air Theatre
Thu 3 rd May 6pm doors/7pm start
£12/£10 conc./£8 group(10+)
An extraordinary musical journey through traditional songs
from Syria and brand new collaborations
http://www.brightonopenairtheatre.co.uk/event/songsfrom-syria/

MUSIC
........................
Brighton Film Quartet
Factotum musician Penny Loosemore
So you’re director, composer, pianist… I wear
a huge number of hats! Too many sometimes. I’m
website manager, I write music by hand for all
instruments, sell CDs, put up posters. It’s a lot. But
I love what we do.
How did you become a composer? There were
many years of incubation. My dad got me a piano
out of a skip when I was four. I should have gone
on to study music, but I became a journalist instead
and ran a fashion business. I moved to Hove
aged 36, and moved house so often I switched the
piano for a keyboard. Although initially unsure,
this led to me teaching myself about technology.
I went to see a Ludovico Einaudi concert at the
Dome and was bowled over. He performed with
a few musicians and a VJ, and it was cutting-edge,
minimalist and mesmerising. There was an exceptional
atmosphere.
Where did you go from there? I started composing
music for short films then got a job as a pianist
at the Grand Hotel, but realised I wanted to compose
as well as play. Five years ago, I advertised for
musicians. We’ve been a female quartet for most of
that time – Emma on clarinet, Sophie on cello, Abi
on violin. We performed acoustic gigs for three
years, and audiences told us that our music created
mental images. So we began combining live music
with film as the Brighton Film Quartet.
What is SOUNDSCAPE? Our own live cinematic
compositions in front of a screening of a series
of short films, made by Sussex filmmakers.
What would be your dream venue? SOUND-
SCAPE lends itself to different venues. We’ve
played at Brighton Pavilion and the Duke of
York’s, as well as lots of festivals. What we love is
somewhere dark and intimate. Ideally, in the audience,
you need to feel completely cocooned so you
can be taken on a ‘journey’ of the senses.
What do you feel about women composers
in the 21st century? It’s easier for me because
I work under my own steam, I’m not competing
with male composers. But women who do, say it’s
very difficult. We want to bring these concerts to
youngsters who experience very little live music,
so we’re looking for local businesses to sponsor
our SOUNDSCAPE 4 Schools project. But part
of it is about demonstrating that women can be
successful composers as well as performers. Music
can cut through barriers, and our use of technology
makes it more accessible for young people.
They need to be inspired to get into music, and we
can help do that.
What’s a great night out for you? Going to Jazz
Jam at the Brunswick. After six years hiding in the
shadow, I now get up and sing.
What’s next? World domination! We’re stalking
an agency called Serious. We’ve set our hearts on
being represented by them. Emma Chaplin
Spiegeltent, 6th May, 7pm, £8-10
brightonfringe.org / brightonfilmquartet.com
....55....

YOUR
MUSIC
CAREER
STARTS
HERE
ARTIST DEVELOPMENT DIPLOMA
GUITAR • BASS • DRUMS • VOCALS • SONGWRITING • EVENTS & SOUND PRODUCTION
FULLY FUNDED TWO-YEAR FURTHER EDUCATION
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EXCELLENT TEACHING FACILITIES AT BRIGHTON
ALDRIDGE COMMUNITY ACADEMY (BACA)
BIMM.CO.UK/BRIGHTON
EUROPE’S MOST CONNECTED MUSIC COLLEGE

MUSIC
..................
Ezra Furman
A leap into the great unknown
I had to be talked into coming to perform in
England. There was so little interest in the States
that I’d decided to quit. I’d been doing it too long.
Then five years ago this guy I know in England,
who had booked us before, said ‘you gotta get over
here. Something’s happening, it’s time to strike!’
I didn’t really believe him, but he talked me into
coming. When I saw the audiences at the shows,
then I believed him.
There’s a change of mood on the new record.
The aim was to make music that’s a little less about
having a good time. It’s more concerned with saying
something real and vital and challenging. I wanted
the new record to be a leap into the great unknown.
I’m really good at ignoring everyone’s advice. I
don’t think much about how music will be released
while I’m working on it and I try to block off most
input from anyone else. There’s a private world that
I inhabit where the good stuff comes from.
I always write about what I’m obsessed with.
Right now, it’s fear and solidarity. Reading the news
aggravates my childhood fears of white supremacy.
I’m descended from refugees on one side of
my family, and it’s a story that goes straight to the
Holocaust. It’s a story I’ve been hearing about
since I was a child. So to have a white supremacist
president really scares me. And it also awakens this
urgent need to show solidarity with people who are
frightened and threatened.
I’m not totally sure what identity politics
means. People sometimes take a conversational
tone with each other that divides them. I don’t
think that’s the way it needs to be, or should be. For
instance, if you’re trying to advocate for the poor,
that goes across a bunch of different identities. It’s
shocking to me that somehow a lot of people are
convinced that it’s white men versus everybody else.
I don’t like to divide it that way.
I’m not comfortable with labels and I often
float between them. There’s a few that I do
claim as my own: I’m comfortable with queer,
I’m comfortable with Jewish, I feel like the word
male applies to me... pretty much. I feel a little bit
wobbly on that one, but I’ll take it because it seems
arbitrary to me. I’m sort of like, well, you can call
me what you want, but if you get to know me you’ll
see that it’s a little more complex.
But I’m definitely an American. I’m influenced
by a lot of American music and imagery, but in the
past five years we’ve probably played more shows
in the UK than we have in the US. We still have
a rock’n’roll garage band set-up, but we’ve also
incorporated some unusual elements. If I told you
more it wouldn’t be a surprise. It’s good to retain
the ability to surprise. As told to Ben Bailey
Brighton Dome, 26th May, 8pm £17.50/15
....57....

ART
....................................
Focus On: Museum of Ordinary People
Curators Lucy Malone and Jolie Booth
What is the Museum of Ordinary People? The
idea is to tell stories that have been left out of
history books by using everyday objects and collections
and presenting them in a museum space. We
want to represent real people and who we are now.
Our first exhibition is happening this month, with
the creation of a pop-up museum in The Spire.
How did it come about? Jolie opened a squat near
the clock tower in 2003 and discovered a whole
woman’s life untouched; everything left behind.
She began to uncover the story of Anne Clarke,
who had been immersed in the counter-culture of
Brighton. Jolie made a theatre piece about her, and
a walking tour, which is where we met. I had just
made an archive and exhibition of my late mother’s
artwork, and Jolie and I realised that there were
parallels in the way we worked. We both used
objects to tell stories of women whose lives would
not necessarily have been recorded or written into
the history books. Then Jolie had an idea to do it
on a bigger scale.
Who and what will be in the show? We selected
ten local participants, aged between 20 and 65, who
all have incredible collections. One woman is working
with a collection of personal letters written to
her by her late father. Another participant found a
collection of diaries at a car boot sale which tell the
story of a woman’s life and her struggle with MS.
We’re also working with RISE (the domestic abuse
charity), the youth group Miss Represented and
PACT (Parents and Children Together).
How did you decide what to show? We held
workshops over the course of six weeks prior to
the exhibition, teaching about archival theory,
museums, curation and display and also creative
sessions to help the participants develop a piece of
work with their collections. We had no idea what
the participants would produce in response.
What’s been most interesting about working
in this way? The model for these workshops came
from our own work, and, for me, that work was a
really therapeutic process. There is connection and
belonging built through everyday objects. We’re
working with people on how to express that. It’s
healing and reparative and we’re meeting more and
more people who want to work in this way.
Our goal is to have a permanent space, preferably
in Brighton. Brighton people are extraordinary
even when they are ordinary, and there is a need to
record that. As told to Lizzie Lower by Lucy Malone
The Spire, Eastern Road, 29th May – 3rd Jun.
museumofordinarypeople.com
....59....

ART
....................................
Ian Mowforth
The Dog Show
Artists Open Kennels
The Artists Open Houses festival returns for its
37th year but, with over 200 venues and upwards
of 1,000 artists to choose from, where do we begin?
It being the Chinese Year of the Dog, we thought
we’d start with The Dog Show, the canine-themed
open house of Joanna Osborne (co-author of the
fabulous Best in Show - Knit Your Own Dog, amongst
other titles).
Why a dog-themed open house? For many,
many years I’ve had a knitwear business with Sally
Muir, my greatest friend and co-author. We’ve just
finished our tenth book together. Sally has become
a very successful painter of dogs. Of humans and
landscapes, too, but she has a particular empathy
with dogs. I’ve always loved dogs, too, and have
started to make clay sculptures of them. They’ve
been a part of my life forever and ever. The very
first thing I knitted when I was eight was a dog coat.
Where did you find the other artists? Because
of what we do, we meet a lot of other artists, not
only from Brighton but from all over the place.
The ones we’ve selected for the show work in lots
of different styles, but they all make dogs. We’ve
got the fabric sculptures of ‘Holy Smoke’, who we
met doing Selvedge fair about fifteen years ago, and
we have the photographer, Alma Haser, taking dog
....60....

ART
....................................
Sally Muir
Alma Haser
portraits. I’ll be showing my clay dog sculptures
and Sally is doing her portraits. We’ve got work by
‘Felted Fido’, who has thousands and thousands of
followers and lives in Ayrshire with her eight dogs,
and Bridget Baker and Robin Parker who both
make wire sculptures. There are others too, we’ll
be showing around 200 pieces by twelve of the best
dog artists. Most of the work in the show is beautifully
restrained and realistic, they’re not cartoon
versions of dogs.
How do you go about planning the show? It’s a
huge undertaking, starting about six months before
with collecting the artists together. Then it’s a case
of completely clearing the downstairs of our house
(I have a very willing husband), which reveals a
great deal of yellowing paintwork, so we paint and,
this year, we’ll take up the carpets and have the floor
sanded so it’s more like a gallery. It’s a great impetus
to clear out the room and get rid of all the old junk.
How many visitors are you expecting? I think
we had around 3,000 people last year. There is
never a moment when there’s not somebody in the
house and, most of the time, I absolutely love it.
We do teas in the kitchen and there are loads of
dogs. My husband, Orlando, makes dog biscuits to
give out. This year we’ll have a real dog show in my
neighbour’s garden (on the 20th of May). I’m slightly
panic stricken about it… I’ve never done one
before. The prize for Best in Show is a sitting with
Sally. Interview by Lizzie Lower
33 Silwood Road, venue 10 on the Brunswick Town
Trail. Weekends from the 5th-27th May, plus Monday
7th. 11am-6pm. thedogshowbrighton.com
Felted Fido
....61....

ART
....................................
ART & ABOUT
In town this month...
If you don’t like art, you’d best leave town.
Between the Festival, the Fringe and Artists
Open Houses, you’ll not be able to walk
a hundred yards without tripping over an
exhibition. Here are just a few to get you started.
The Children’s Parade, the biggest arty party
of them all, kicks off the Brighton Festival on
Saturday the 5th from 10.30am. Around 5,000
school children from across the area will be
waving their creations as they process through
the streets. This year’s theme is ‘Paintings’ so
expect papier-mâché Mona Lisas, poster-paint
Picassos, and ten-foot-tall walking sunflowers.
Photo by Victor Frankowski
Joshua Uvieghara at Phoenix Open Studios
Photo by Manel Ortega
The Artists Open Houses festival is back for its 37th
year (!) with 200 venues, on 14 trails, showing the work by
upwards of 1,000 artists and makers over the four weekends
during May. What to pick? How about a festival within a
festival with over 100 artists, designers and makers under
one roof: Phoenix Brighton are holding their Open Studios
on Saturday the 19th and Sunday 20th of May (11am-5pm).
Or maybe The Stanley Road Store, holding their last
Open House at their Stanley Road home! (Don’t worry,
the Stanley Road Shopette continues in the North Laine
Bazaar). Weekends from the 5th until the 27th. [aoh.org.uk]
Solid State, a collection of new work by the
hugely popular Ryan Callanan (aka RYCA), is
at Whistleblower Gallery from the 3rd of May.
Producing artwork that he refers to as ‘poptorian’:
a combination of his Victorian signage style and
his fascination with pop art, Ryan is best known
for his distinctive lush typography and his 3D acid
house smileys. For this solo show he has produced
a brand-new body of abstract work that looks at
landscape, still life and portraiture. Until the 4th of
June (14 St John’s Rd).
Ryan Callanan
....63....

ART
....................................
In town this month... (cont)
Naked Eye Gallery hosts The Italian Job: works from five acclaimed
contemporary Italian artists, brought to Brighton by Stefania Dal
Ferro and Dada Projects, whose aim is to promote social and cultural
integration through the arts. See works in a variety of different mediums:
Massimo Ballardini creates prints and glass structures; Fabio Guerra
combines archaeological fragments into modern ceramics; Piero
Martinello takes a (much) closer look at money; Nicola Tessari explores
the beauty of the raw material in his carved wooden objects, and Paolo
Polloniato uses ancient shapes to create contemporary ceramics.
Piero Martinello
Brett Goodroad
From the 5th, US artist,
Brett Goodroad has
his UK premiere at
Phoenix Brighton as
part of Brighton Festival.
Growing up in Montana,
he has driven combines
through the Breadbasket,
wrangled buffalo in
the Gallatin Valley, and
delivered organic vegetables through America’s Southwest. Now he
lives and paints in his San Francisco backyard. (Wed-Sun, 11am-5pm.)
Perdita Sinclair
From the 10th, Farewell
Seapig is at 35 North in
North Road. Well used to
collaborating with scientists
(she was the first artist in
residence at The Millennium
Seed Bank and has undertaken
residencies in human
dissection laboratories), artist
Perdita Sinclair presents
paintings inspired by an
invasion of black sea snails
in this multidisciplinary art
installation. (Until 3rd June.)
[perditasinclair.com]
....64....

Contemporary British
Painting and Sculpture
We look forward to welcoming
you to our gallery in Hove.
OPENING TIMES
Mon—Sat 10.30am—5pm
Sunday/bank holidays 12pm—5pm
Closed Tuesday
1 Victoria Grove, 2nd Avenue, Hove BN3 2LJ
TELEPHONE 01273 727234 EMAIL info@cameroncontemporary.com
A Woman Ahead of Her Time
5 May - 31 December 2018
nationaltrust.org.uk/petworth
MISTRESS
MOTHER
ElizabethIlive
WIFE
COUNTESS
PIONEER
INVENTOR
PATRON
To mark the 1918 Act that
gave the first voting rights to
women, this interactive
exhibition explores the life
and achievements of
Elizabeth Ilive who lived at
Petworth House from the late
1780s. Discover more about
her intellectual interests in
science with a re-imagining
of the laboratory she
established in the house.
Petworth House, Petworth, GU28 0AE
Registered charity no. 205846
Viva Brighton.indd 1 13/04/2018 17:17

ART
....................................
Expect to see the paintings of Helsinki-based street artist Jussi
TwoSeven popping up around the city. Together the works in All
City Movement make up a tribute to the natural world and act as
a clarion call to protect and conserve the environment, including
the urban sphere. Presented as part of Brighton Fringe’s Finnish
Season 2018. Don’t forget that the ‘living sculptures’ and Royal
Academicians Gilbert & George are in town at Brighton Museum
and Art Gallery. ARTISTS ROOMS: Gilbert & George comprises a
selection of works from their 50 years living and working together,
on show in the city for the first time. And, if you’re feeling inspired,
add your own mark to the festival at David Shrigley’s draw-alongyourself
installation, Life Drawing II, which continues at Fabrica until the 28th of May.
Jussi TwoSeven
Out of town...
Dreaming oneself awake, an exhibition of work by Eileen Agar RA, is
at Farleys House & Gallery in Chiddingly from the 20th. She was
the only British woman to be invited to exhibit her work at the 1936
International Surrealist Exhibition, and there began a lifelong friendship
with Roland Penrose and Lee Miller and, a number of subsequent visits
to their Sussex farmhouse home. The exhibition (open on Sundays
only) continues until the 15th of July. Join leading authority on British
Surrealism, Michel Remy, for a discussion on her work on Sunday, 20th
May (7pm, see farleyshouseandgallery.co.uk/events for tickets).
Courtesy of Redfern Gallery
Claude Cahun, Self-portrait (as weight trainer), 1927, exhibition print from monochrome
negative, Jersey Heritage Trust © Jersey Heritage Collection
Agar’s work also features in Virginia Woolf: An Exhibition
Inspired by her Writings, a major touring exhibition arriving
at Pallant House in Chichester on the 26th. Featuring
80 female artists from 1854 to the present day, this
timely exhibition ‘seeks to show how her perspectives
on feminism and creativity have remained relevant to a
community of creative women across time: visual artists
working in photography, painting, sculpture and film who
have sought to record the vast scope of female experience
and to shape alternative ways
for women to be.’ Expect
works by Winifred Nicholson,
Vanessa Bell, Sandra Blow,
Gluck and many more besides.
Unmissable. (Until September
the 16th.)
France-Lise McGurn, Your Daughter’s Daughter, 2017
© Frances-Lise McGurn
....67....

16/17 June
23/24 June
30 June & 01 July
2018
POWDER, a stylish salon on Duke Street, will
be showing work by local artists as
well as their own t-shirt designs.
For more information visit
worthingartistsopenhouses.com
or find us on
LA SHUKS: multi-media artist creating
landscapes of reimagined future nature
LOIS ORCHARD: punk-inspired,
hand-drawn cut and paste pop art
AIMEE LAMB: detailed and abstract
fashion and beauty illustration
36A DUKE STREET
www.powderbeauty.co.uk

ART
....................................
Morag Myerscough
Belonging
In divided times,
it makes us happy
that designer Morag
Myerscough’s
touring bandstand is
bringing the theme
‘Belonging’ to the
fore at this year’s
Brighton Festival.
The bandstand-cumart
installation is part
of Your Place, Kate
Tempest’s legacy
that puts elements of
festival programming
into the hands of the
community.
Co-commissioned by
Brighton Festival and
Ditchling Museum of Art + Craft, this summer
the bandstand will host a bespoke line-up of acts
in a total of nine locations and as many different
guises. The project is inspired by the work of
Corita Kent: an artist, educator, social activist and
nun who ran with the likes of Charles and Ray
Eames in mid-century LA. Morag has wanted to
create a bandstand connected to ‘belonging’ for a
long time, and when she heard Ditchling Museum
of Art + Craft were holding a Corita Kent
exhibition, their commission presented the perfect
opportunity to bring the two together.
“[Kent’s work] was about empowering people
through creativity,” says Morag. “She believed
you can give people a voice through making
things.” To similar ends, the striking typographic
placards that adorn the bandstand are made
in response to a series of workshops held with
community groups
across the county,
from Hastings to
Hangleton.
Morag used
assignments from
Kent’s posthumously
published book
Learning by Heart
to help each group
discover and
communicate their
own interpretation
of belonging.
Words generated
during these
exercises furnish the
bandstand, evoking
‘belonging’ as each
group feels it relates to their neighbourhood.
The Hangleton group imagined the landscape
and sunrise. Crawley thought of ‘Family, Friends,
Love and Rice’.
“We’re in this total moment of change,” Morag
explains, on a break from painting placards
with Brighton University’s Graphic Design
department. “Everything is upside down; nobody
really knows what the future is.”
The hope is that if we take time to stop, to think
about what it is to belong, we can connect with
where we are in the present. “If everything just
trundles along, you don’t question it”.
“It’s really important to question things, and
bring people together, different groups together,”
she says. “The danger with now is the individual:
only belonging to yourself, and forgetting the
other things.”
>>>
....69....

VIRGINIA WOOLF
An Exhibition Inspired by her Writings
26 May – 16 Sep 2018
pallant.org.uk
Organised by Tate St Ives in association with
Pallant House Gallery, Chichester and
The Fitzwilliam Museum, Cambridge
Dame Laura Knight, The Dark Pool, 1908–1918, Laing Art Gallery, Newcastle
© Reproduced with permission of The Estate of Dame Laura Knight DBE RA 2018. All Rights Reserved
1-3 June 2018
10am – 5pm (last entry 4pm)
Live arts and crafts • Shopping • Exhibitors
House Opening • Hands-on workshops
www.westdean.org.uk
West Dean College of Arts and Conservation, Chichester, West Sussex PO18 0RX
Ann Bruford
BOOK NOW SAVE 20% *
Adults £10 (Gate £12)
Children free
Students 16+ £5 (Gate £6)
*ends 25 May 2018

ART
....................................
Photo by Ben Stenning
Open Studios
Phoenix Brighton
@PhoenixBrighton
phoenix_brighton
SUPPORTED BY
phoenixbrighton.org
Over 100 artists/
designers/makers
under one roof
Preview
Fri 18 May 6–9pm
Open
Sat 19 May 11am–5pm
Sun 20 May 11am–5pm
Phoenix Brighton
10–14 Waterloo Place
Brighton BN2 9NB
>>> Kent taught that you can’t change the world,
but making effort in small ways can have positive
effects far greater than we might expect. “I think
it’s just great if people can come together in a
small, not over-romantic way,” says Morag.
“What participants said they loved most was
just somebody else making them a cup of tea,
somebody having a chat, and even though those
things are simple, they’re more complex to make
happen than you think. Belonging is about the
everyday: the here and now.”
The sum of all this is, when we feel we belong, it’s
harder to feel bad. “I’m not the happiest person
in the world,” says Morag, “but… I know that if I
put art into spaces, it can really uplift people and
change their spirit. To be able to make work that
does that, makes me happy.” Chloë King
Enjoy Belonging on Hove Lawns (12th &
13th); at Your Place Hangleton (19th &
20th) and Your Place East Brighton (26th
& 27th). ditchlingmuseumartcraft.org.uk |
brightonfestival.org
Photo by Ben Stenning
....71....

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㈀ 㔀 匀 夀 䐀 一 䔀 夀 匀 吀 刀 䔀 䔀 吀 ⸀ 䈀 刀 䤀 䜀 䠀 吀 伀 一
㈀ 㜀 アパート 㘀 㤀 㜀 㤀 圀 圀 圀 ⸀ 嘀 䔀 䔀 䈀 䔀 䔀 ⸀ 䌀 伀
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The course is suited to beginners
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For dates and further information:
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THE WAY WE WORK
This month, Adam Bronkhorst photographed five Brighton Fringe
performers, going about their daily business in their festival get-up.
We asked them: ‘What do you do before you go on stage?’
adambronkhorst.com | 07879 401333
Beth-Louise Priestley, Shit-faced Shakespeare (The Warren, 10th-13th May)
“I take an anti-anxiety tablet about an hour beforehand. Either that or I drink a beer.
The sober cast are all allowed one drink at the ‘Drink-Up’ – after all, no one likes drinking alone!”

THE WAY WE WORK
Mark Brailsford
The Treason Show (Horatio’s, 10th-12th May)
“I’m usually backstage writing new material!”

THE WAY WE WORK
Alfie Ordinary
Help! I Think I Might Be Fabulous (Spiegeltent, 6th, 27th & 29th May)
“I sing a Queen song, usually Don’t Stop Me Now or We are the Champions.”

THE WAY WE WORK
Nick Van Vlaenderen
South Coast Soul Revue (The Brunswick, 4th May)
“We just sit backstage and have a beer.”

THE WAY WE WORK
Chi Chi Revolver
The Revolver Revue (Spiegeltent, 27th May)
“I learnt that standing with open body language boosts your confidence, so I always do that before I go on.”

A NEW TYPE OF DINER
We offer incredible new versions of food
and drink that you might find familiar.
We have sodas made in house with some
help from our centrifuge machine. They
have around one tenth of the sugar of
regular sodas.
Our cocktails are crafted with loving care
using house made essences, bitters and
artisanal spirits.
Some of our cakes have no added sugar.
Some are completely dairy free.
We are really proud of our velvety, house
made, organic cashew and tiger nut milk
blend.
Our coffee has to be tasted to be believed.
We only use the best butter, virgin coconut
oil (for our many non dairy/vegan
creations) and extra virgin olive oil for
dressing.
Our tea is brewed in clean glass, to the
perfect temperature.
Everything we have is completely free of
gluten. That's right, everything. Even our
house made sourdough, sweet bakes and
our buttermilk fried chicken.
Our aim is excellence as standard.
We make super food for super people.
PLEASE PAY US A VISIT
99 Trafalgar Street, Brighton, BN1 4ER
01273 620 036
www.doughlover.com
www.instagram.com/dough_lover_

FOOD
............................
Café Plenty
The Rummikub Curry Club
Earlier this year I went
to India. It was suitably
restorative, with mornings
spent doing yoga, lazy
days passed on the beach,
and evenings spent
playing Rummikub, an
unremarkable looking
but highly addictive
game. The holiday
is already a distant
memory but Rummikub
remains an obsession.
I’m on a constant, almost
evangelical, quest to
recruit new players, and
I’m willing to use bribery
if necessary.
To this end, I invite
a couple of friends to
dinner at Café Plenty one Wednesday evening on
the condition that we can play a few rounds after
we eat. I’d recently passed by late one night and
enviously eyed the delicious-looking thalis on the
tables inside: this formerly-just-daytime hotspot
has started opening on Wednesday to Sunday
evenings, offering Bengali street food, whilst the
Good Things Tap Bar serves up a dozen carefully
curated craft beers.
It’s inexplicably quiet on the evening we visit
and there is, admittedly, a bit of a wait for our
food but, when it arrives, the reason becomes
apparent. If ‘street food’ conjures up images of
handheld portions dispatched in a couple of bites,
think again. The table is soon laden with dishes:
two generous bowls of curry; one spicy fish with
whole, huge, red chillies, the other a creamy,
coconut vegan option, full of plantain and okra.
A great bowl of fragrant
rice is set down. There
are huge pieces of honeyroasted
paneer with pan
fried shallots - glazed
and utterly delicious,
crisp bhajis the size
of cricket balls, and a
dozen golden samosas,
six each of the lamb and
vegan options. Last to
the table are dishes of
roti, mango chutney,
and thick yoghurt spiced
with cloves and laced
with mint. It’s more feast
than finger food and the
flavours are superb. We
agree that it’s one of the
best curries any of us
has had in a long time. It’s nicely washed down
with pints of lychee-fragranced Lost Pier ‘Fruit
Machine’ IPA, and glasses of organic Spanish
wine, but we appear to have ordered food for eight
and eventually have to admit defeat.
Finally, it’s payback time and we set about the
serious business of Rummikub. Tiles dealt, rules
explained and three rounds in, Rummikub refuser
Tristan is hooked and I’m thinking the Rummikub
Curry Club might become a thing. Not only is
the food delicious, it’s incredibly good value at
£47.50 for the three of us (including the first
round of drinks). But I do suggest that you come
with six, order for three and, if you want to play
Rummikub… we’re recruiting. Lizzie Lower
Café Plenty, 3-4 Circus Parade, New England
Road. Bengali street food available 6pm-10pm,
Wednesday - Sunday
Photo by Lizzie Lower
....79....

RECIPE
..........................................
....80....

RECIPE
..........................................
Yomi’s tomato stew
Yomi Sode performs a show on identity and belonging,
while cooking up a traditional Nigerian stew
My grandmother has died. My mother has
come round to my new flat to tell me that we’re
travelling to Nigeria to go to her burial. She
already knows that I’m not too keen on going
because the last time I was there I didn’t have
the best experience…
I was nine when we moved to England, but I’ve
been raised to think of Nigeria as home. When
I was there, though, that was the last feeling
that I got. I am Nigerian, but I’m also very
much British: I very much have this style, I very
much talk in this way. In Nigeria I was made to
feel very aware of myself and I think it’s natural
for any person who goes into a situation where
they don’t feel wanted or feel welcomed to build
some kind of resentment towards it. It can be a
country, it can be a person’s home, it can even
be work.
My show, COAT, deals with some of these
ideas of displacement, belonging and identity.
I don’t feel that resentment now, far from it,
but there’s a very interesting intergenerational
conversation that comes out of it in terms of
how much we really need to know about the
people who are close to us. I’m a father now
– I’ve got a three year old, soon to be four –
and I’m thinking about what things will be
in his best interest to know, to ensure that he
grows up without any stress or anxiety. Will I
consider not necessarily being as free with the
information as I thought I would? This is what
this battle is about between me and my mum:
on one side, she is protecting me from certain
things, and on the other side, I’m holding
things back from her. So here we are; we love
each other to bits, but we’re hiding things from
each other at the same time.
So my grandmother has died. My mother has
come round to my new flat to tell me that
we’re travelling to Nigeria, and all of these
conversations are coming up. Meanwhile,
I’m preparing this lovely meal for her, a nice
traditional dish from Nigeria, from scratch…
Ingredients*: Oil, 1 tin of plum tomatoes, 1
red sweet pepper/tatashe (chopped), 1 medium
onion (chopped), 2-3 Maggi cubes, 1 chicken
stock cube, thyme, half scotch bonnet pepper/
rodo (optional), fresh garlic (optional), tomato
purée, boiled water.
(*There might be a secret ingredient. You might
have to come to the show to find out what it is.)
Method: Put pepper, onion and Scotch bonnet
into a blender with a little water and blend until
smooth. Heat oil in the pan and boil the kettle.
Carefully add the blended ingredients into your
pan. Use a small amount of water to rinse the
blender and add this to the pan also. Leave it
to fry off for between 5-7 minutes or until it
has settled and pour the plum tomatoes in. Add
your seasonings. Add some purée (depending
on how thick you want it) and add some more
water if desired. Stir all of the ingredients to
ensure that it is mixed well and leave to simmer,
checking on it from time to time. Taste as the
stew is cooking and add more seasoning if
needed. Once all of the oil has risen to the top
(approximately 45-60 minutes), your stew is
ready. As told to Rebecca Cunningham
COAT, Brighton Festival. Brighthelm Centre,
10th & 11th May, 7.30pm, £12.50
....81....

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NEW
FOOD
....................
Three-cheese toastie
With a hint of Terminator 2
It’s not every day you have a toasted cheese sandwich
prepared with a plumber’s blowtorch. And that’s not
the only thing that sets this sandwich apart. This
toastie is made with three cheeses, flame-grilled
cauliflower pieces, cauliflower purée, pickled golden
sultanas and a sprinkling of rosemary. It’s prepared for
me by George Egg, aka the ‘Anarchist Cook’, who’ll
be pitching up with his workbench/test kitchen at
The Warren this month.
George explains the new show, DIY Chef (part
stand-up comedy, part play, part subversive cookery
course and a total sell out at Edinburgh 2017), as
he assembles my sandwich, first heating a metal
Terminator 2 DVD case (“it’s the perfect size for a
toasted sandwich”) with the plumber’s blowtorch.
He then spreads two slices of sourdough with butter
churned by strapping a pot of double cream to a
power sander (“four minutes on full-power should
do it”). The assembled ingredients are melted with
a hot air gun (“it provides a gentler heat than the
blowtorch”) and clamped firmly between the DVD
case covers with long-handled pliers. “It’s all a bit
Wallace and Gromit” shouts George over the roar of
the blowtorch as he blasts the case, before flipping out
the perfectly toasted sandwich with a paint scraper.
I can’t tell if it’s the smoked cheese or the DVD case
that’s giving it the depth of flavour but it’s definitely
more Heston Blumenthal than Heath Robinson. LL
The Warren, 24th and 26th May, 8pm, £10.50-12.
Cutlery will be supplied.
....82....

Fringe Special
20% Off
with ticket for any
upcoming show
Edible Updates
First off, welcome to The Ivy, scheduled (as we
go to press) to open on the 2nd. We’re excited
to see that fantastic Grade II-listed building on
Ship Street finally restored and up and running
again. And if you haven’t been along to Circo
by Señor Buddha we’d recommend going on
a ‘Planta Wednesday’: one tapas,
two raciones (slightly bigger)
and a dessert from their
vegetarian/vegan menu for
just £20. Perfect to get you in
the mood for summer.
Open for Lunch and Dinner
10 Manchester Street, Kemptown, Brighton
bluemanrestaurant.com
吀 䠀 䔀 嘀 䔀 䜀 䔀 吀 䄀 刀 䤀 䄀 一 刀 䔀 匀 吀 䄀 唀 刀 䄀 一 吀
On Saturday 12th, the College of
Naturopathic Medicine are holding an open
morning for anyone interested in studying
nutrition or natural therapies. The free event
takes place at Brighton Aldridge Community
Academy, 10.30am-12.30pm. [naturopathyuk.com]
Those looking to boost their own
wellbeing might enjoy Josephine
Cobb’s free talk on Nutrition
for Fatigue and Stress,
Thursday 3rd at Brighton
& Hove Therapies on Fleet
Street. [josephinecobb.com]
Finally, Foodies Festival will be pitching their
tents on Hove Lawns from the 5th to the 7th.
There’ll be street food to sample and cocktails
to sip, as well as plenty of piethrowing,
cheese-stretching and
chilli-eating fun. Don’t forget to
check out the new Musicians
Against Homelessness music
stage, featuring Toploader
on the Saturday and The
Hoosiers on the Sunday.
[foodiesfestival.com]
....83....

....84....

WE TRY
...........................................
SPACE Yoga
Don’t diss the Yin
St Augustine’s Centre, the magnificent former
church on the corner of Stanford Avenue and
Florence Road, opens its doors this month as a
hub for spirituality and wellbeing. The building
has been divided into a number of units, housing
therapy rooms, workshop spaces and, now, a brand
new yoga studio.
SPACE Yoga Studio is run by partners John and
Catia, who have offered me a free class to get
a taster of what’s on offer. I’ve done a few yoga
classes before, but I don’t know much about the
different types, so John suggests trying Yin Yang,
a combination of slow, restorative ‘Yin’ poses and
more dynamic, strengthening ‘Yang’ movements.
Catia leads the class at 11.30 on a Monday
morning. I find my way up to the studio, which
is on the first floor of a built structure inside the
church. It is a stunning place to do yoga: the
studio itself feels warm and contained, but looking
through the windows you get a sense of the height
and the space outside. I take a place on one of the
mats and wait for the class to begin.
We start by lying on the mats and doing some
breathing exercises, and then it’s into the Yang part
of the session. We work our way through various
different poses at quite a fast pace, with Catia
leading through gentle instruction from the front
of the studio. The movements are challenging but
I can just about keep up. Catia walks around the
room and offers some adjustment when we need
it. Feeling more out of breath than I’ve felt doing
yoga before, I’m relieved when it’s time to move
onto the Yin section.
“Anybody who has told you that the ‘Yin’ is easier,
is lying to you,” Catia says. So it isn’t time for a
break just yet. Each pose is fairly simple, but rather
than moving from one to the next, she explains,
we will hold each for anywhere between three and
five minutes. The challenge is in staying with it
and allowing gravity to push your body deeper into
the stretch. “The Yin allows you to notice which
is giving up first: your body or your mind.” Catia
explains that boredom and frustration are common
during this type of practice, which is encouraging
to hear because I feel them both. It is a very
different challenge to the first half of the class, but
it proves, ultimately, to be immensely satisfying.
The session draws to a close, and on the way out
of the studio I stop to speak to John and Catia
about the other types of yoga they offer. “We divide
the classes into four types: restorative, dynamic,
beginner and experienced,” John explains, “so we
try to offer something for everybody.” If you’ve
been thinking of trying yoga but you’re not sure
which is right for you, they’re offering 30 days of
yoga for £30 – or as part of the Fringe they’ll be
running free yoga classes all day on Saturday 19th.
I’d highly recommend the Yin Yang. Just don’t
underestimate the Yin. Rebecca Cunningham
spaceyogastudio.uk
....85....

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FESTIVAL
...........................................
Your Place
The people at play
I think one of the best things about the Brighton
Festival is the great number of free events. It’s
like the city is saying, ‘Forget the grind: come
and see the people at play’. Of course, for all
the accessibility there will still be shows that are
beyond the pockets of a great many. Last year’s
Guest Director, Kate Tempest, had this to say on
the matter: ‘The arts should be social, not elitist.
They should be part of our everyday life.’ But she
didn’t just make worthy pronouncements – she
set up the means to ensure the Festival enshrined
these notions.
And so on a grey Monday in early April I take the
bus from Viva Brighton HQ all the way over to
the Hangleton Community Centre, where Brighton
starts to run out and the Downs loom into
view. I’m off to find out about Your Place, a kind of
festival within the Festival, Kate Tempest’s legacy
to those who live on Brighton’s fringes.
Last year Your Place featured a packed programme
including: award-winning poetry slam champion
Tommy Sissons; Appalachian folk artists Anna and
Elizabeth; a new Brighton Festival commission
from Three Score Dance and Ceyda Tanc Youth
Dance company, as well as workshops and performances
from Kate Tempest herself.
I’m curious to know what local people make of
this, of having arty-farty literati types come to
their neighbourhood, and whether the dynamism
of last May has carried through to this May. I
arrive at the community centre just as a planning
meeting is breaking up. Rhianydd Summersett
from Hangleton tells me she’s grateful to all
those artists and performers who are willing
to be involved in Your Place. ‘It’s lovely having
the opportunity to bring all this into the local
Photo by Caitlin Mogridge
community. A lot of local families can’t access
some of the events in Brighton due to the cost of
the ticket’. Rhianydd also mentioned the cost of
getting into town, how for a family of four much
of the Festival would be beyond them.
Jacqui Somers from the Manor in East Brighton
tells me what the Festival’s continued commitment
means to her. ‘We weren’t just dumped.
They’re just very interested in what we’ve got to
say. It’s lovely to be heard and appreciated.’ Last
year she got to meet Kate Tempest. ‘She was sat
on the ground with a couple of her mates. I made
her a cup of tea and that was it. And then she got
up on stage and it was Boom! Boom!’
I ask about events this year. ‘I am looking forward
to the David Shrigley talk,’ says Jacqui. ‘The artist
in residence,’ says Rhianydd, ‘Kate McCoy.’ Then
the conversation takes off in a flow of excited
mentions of other events and artists, The Ragroof
Players, Culture Clash, Joanna Neary. Yes, I think,
as I come away. Boom! Boom! John O’Donoghue
19th - 20th May, Hangleton Community Centre;
26th - 27th May, Manor Gym, East Brighton.
brightonfestival.org
....87....

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Photo by Adam Bronkhorst, adambronkhorst.com
MY SPACE
...........................................
Brighton street art
A two-wheeled tour
I think I’m becoming blind to street art.
It probably happens to a lot of people
who live in Brighton. So many of my daily
journeys are spent dashing through the side
streets of North Laine, dodging past groups
of gazing tourists, it’s only when I stop and
look at what they’re gazing at that I see it.
I’m determined to find out more about the
city’s street art scene, so I enlist the help of
long-standing local graffiti artist REQ to
show me some of the best spots. He offers
to bring me and photographer (and street
art enthusiast) Adam Bronkhorst on one of
his tours.
So the following Friday afternoon I meet
Adam at the BTN Bike Share dock by
our office to pick up our rides for the day.
Neither of us has been on one before, so
there’s a bit of pressing of random buttons
to be done before we figure out the system.
It turns out to be incredibly straight-forward
(as long as you can remember your
PIN number).
On first ride the bikes take a bit of getting
used to: the frame is much heavier than a
normal bike, which makes the steering feel
heftier, but you soon adjust. Adam gives
them bonus points for being able to hold
his DSLR safely in the front basket.
We meet REQ (pictured pg 91) in front of
the Icons mural on the side of the Prince
Albert, which he painted (in its second
....89....

MY SPACE
...........................................
Photos by Adam Bronkhorst, adambronkhorst.com
incarnation) last autumn. Icons is, of course,
one of the most iconic pieces of street art in
Brighton. He tells us about the special transparent
paints he uses to achieve his almost
photo-realistic portraits, and about some of
the women who helped him paint the piece:
graduates of his Spraypaint Academy for Girls.
But there’s plenty more to see, so we have to
move on.
We zigzag up and down the North Laine,
taking in more stunning pieces by REQ
himself, as well as big local names Sinna One,
SNUB and Minty. I’m a bit wary cycling up
the hills to begin with, given how heavy the
bikes are, but the eight-speed gear system
makes it a breeze. One of my favourite places
he takes us is the carpark at the end of Jew
Street: what had previously seemed like just a
mess of graffiti suddenly becomes a lot more
interesting with REQ there to tell us about
the different artists, where they’ve come from
....90....

MY SPACE
...........................................
and the techniques they’ve used.
We finish up on Trafalgar Lane, where there’s
some new street art being made. REQ introduces
us to Mazcan, one of Brighton’s only
female graffiti artists, who is in the middle of
painting a stunning portrait, and then Sinna
One drives past and stops for a chat.
“The tour normally only lasts an hour…” says
REQ. The trip timer on the back of my bike is
reading ‘3hrs 44mins’ so we decide we’d better
call it a day. We say our goodbyes and pedal
back to the bike dock. Even after nearly four
hours, I’m a little disappointed that our tour
had to come to an end. But I guess the best
thing about street art is, if you come back next
week, it will all have changed. RC
To book a street art tour with REQ, visit
fb.com/BrightonStreetartTours
To find your nearest BTN Bike Share dock and
download the app, go to btnbikeshare.com
Photos by Adam Bronkhorst, adambronkhorst.com
....91....

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BRICKS AND MORTAR
...........................................
Hove Plinth
‘A new cultural landmark’
Walk along the
Kings Esplanade
and at the foot of
Grand Avenue you
will come to Hove
Plinth, our recently
unveiled answer
to the Fourth
Plinth at Trafalgar
Square, and a
nod to Brighton’s
reluctant sobriquet:
‘London-by-thesea’.
By the time this magazine goes to print, the
first sculpture will have been unveiled, towering
2.5 metres above the plinth and casting mesmerising
shadows onto the surrounding promenade as
it moves silently in the breeze coming off the sea.
This is Constellation, by Jonathan Wright, a giant,
3D-printed orrery (or model of the solar system)
that substitutes orbiting planets for examples
of ‘what makes Hove, Hove,’ putting it at the
centre of this metaphorical solar system. The
features have been suggested by local residents
at workshops over the past year and include a
model of one of the pastel painted beach huts
that line Kings Esplanade and frame the plinth
itself, one of our ubiquitous seagulls, and, mysteriously,
‘something first recorded in Sussex in
1150.’ Wright has described the piece as being
‘part made by the local inhabitants and part
made by the location itself.’
Constellation is only a temporary fixture, though.
Much like its equivalent in Trafalgar Square,
Hove Plinth will play host to a rolling line-up of
sculptures, including original works and pieces
on loan from major sculpture foundations. This
is the first step of Hove Civic Society’s plan to
introduce new
public sculpture
to the city. Hove
Plinth will complete
a continuous
‘U’ circuit of
sculpture both
old and new,
running from the
statue of Queen
Victoria further
up Hove’s Grand
Avenue, to the
one in Victoria Gardens, Brighton.
The new plinth stands over two meters tall and
features connectivity technology, allowing for a
more interactive experience, and up-lighting of
the kind that makes the grand appear yet grander.
Funded by donations from local businesses
and residents, this has been the flagship project
of Hove Civic Society since February 2012, and
is intended to remedy the complaint that Hove’s
‘rich culture of Victorian sculpture has had nothing
much added in the last hundred years’.
As well as the public involvement through crowd
funding, the first three sculptures scheduled to
feature on the plinth have been chosen by the
votes of some 1,500 Brighton & Hove residents.
Major pieces will remain on the plinth for 12-18
months, after which time some will be moved to
permanent sites currently being sought around
the city, with others becoming part of a growing
back catalogue of locally relevant sculpture.
Hove Plinth promises to be a cultural landmark
for the city, brought to completion by the people
of Brighton & Hove, for the people of Brighton
& Hove. Hugh Finzel
hovecivicsociety.org
Artist’s impression of Hove Plinth with ‘Constellation’
....93....

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BRIGHTON FESTIVAL
...........................................
Ed Hughes
A moment in a river’s history
How do you capture landscape in music? For
Lewes composer Ed Hughes, it’s a process that
involves what he sees as much as what he hears.
The colours, contours and edges of the physical
world can all, through Ed’s eyes, be translated into
a musical score.
His latest composition was inspired by one of East
Sussex’s most famous land features. Cuckmere: A
Portrait, a Brighton Festival commission that premieres
this month, is a collaboration between Ed,
who is Head of Music at the University of Sussex,
and acclaimed music documentary filmmaker
Cesca Eaton.
Ed’s live orchestral score and Cesca’s 25-minute
silent film will give audiences a visual and sonic
experience of a year in the life of Cuckmere,
including the Haven, an area of flood plain
between Seaford and Eastbourne where the river
Cuckmere meanders to the English Channel.
“For years I’ve loved walking in that area with
my family,” says Ed. “It’s a place of great beauty
and fragility, which has inspired so many artists.
Its special light, space, shapes and colours were
famously captured by the artist Eric Ravilious in
his 1939 watercolour, Cuckmere Haven.”
It is these qualities that Cesca and aerial cameraman
Fergus Kennedy have captured in her film,
and which Ed has used to create the four musical
movements of his piece to represent autumn,
winter, spring and summer.
“I’m fascinated by how Cesca’s film creates drama
through connecting different views - whether
that’s the meandering of the river, or the flinty cuts
in the chalk landscape, or the gradual curves of the
Downs,” says Ed.
“These all have geometrical, almost rhythmic
aspects, which can translate into shapes in music.
A sinuous pattern in the river could connect to a
weaving motif in a particular instrument, such as a
flute or a glockenspiel. The music and the picture
are creating different languages side by side.”
Ed and Cesca began the project two years ago,
helped with funding from the Arts Council,
and held workshops at local schools, including
BHASVIC and East Sussex Academy of Music, to
encourage young musicians to respond to Cesca’s
film footage.
What makes the project all the more urgent and
poignant are the challenges to the area posed by
rising sea levels and the cost of protecting it, adds
Ed. “This is a portrait of the Cuckmere River
through a year of seasons, but it is also a moment
in its history. The fact that Cuckmere Haven
will change has a powerful effect on us, perhaps
because we long for an experience of beauty that is
somehow permanent.”
The premiere, which will be at the Attenborough
Centre for the Creative Arts at the University of
Sussex on 5th May, will be followed by a discussion
on the future of the environmental movement
between Brighton Pavilion MP Caroline
Lucas and author Tony Juniper, whose new book,
Rainforest, draws on his many years’ experience as
a frontline campaigner.
A second performance, on 6th May, will include
compositions played by schools that took part in
the Cuckmere Project. Jacqui Bealing
brightonfestival.org
....95....

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Huge variety of animals and birds to see –
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Registered charity number 237696

Illustration by Mark Greco
WILDLIFE
...........................................
Lichens
To your health
I’ve reached that age where my local GP has
offered to give me a free health check to see if it’s
worth me making any long-term plans. Next week
I’ve booked in to be weighed, measured and prodded.
Meanwhile the health of Brighton itself can
be monitored by a group of amazing organisms
which, though they’re all around us, largely go
unnoticed: lichens.
Lichens are the Banksys of the natural world, bringing
their anarchic wildlife graffiti into our unnatural
urban landscape, disrupting the dull uniformity
of brickwork and concrete with a dazzling diverse
range of patterns, shapes, textures and colours.
Considering that lichens cover 8% of the land’s
surface it’s amazing that we hardly notice them,
but next time you’re out, stop and look around.
You’ll be overwhelmed – lichens are everywhere.
Luminous yellow and orange crusts radiate
across roofs, walls, benches and fences. The bare
branches and bark of trees are festooned with
green lichen lobes. Even the concrete and the
clay beneath your feet is covered with the white
splodges of lichens which resemble trampled
chewing-gum. Once you start looking, an invisible
world of lichens will materialise and you’ll feel
like grabbing the nearest person by the lapels and,
wild-eyed, yelling: “they’re everywhere – can’t you
see? We’ve been invaded!”
The secret behind their success is that each lichen
is made of two different organisms – a fungus and
an alga. The alga can photosynthesise and provides
the food that fuels the fungus while the fungus
gives the structure and protection which allows
the alga to function. The fungus is the Lennon
to the alga’s McCartney; working together they
create something amazing and enduring.
Because lichens absorb their water and nutrients
through their surface they don’t require roots.
This gives them the freedom to simply anchor
themselves to any firm foundation; rock, wood,
bone, concrete, glass, canvas, metal. They can also
withstand severe desiccation. In periods without
water they simply switch off. When re-hydrated
they spring back to life like the Wicked Witch of
the West in reverse.
This versatility and resilience means lichens can
survive anywhere on our planet – and experiments
have shown they’d probably do alright elsewhere
too. They recently achieved remarkable results in
the Mars Simulation Laboratory and some folk
claim that lichens could be the key to the human
colonisation of the Red Planet. Back on Earth
their reliance on rainwater means that lichens are
famously sensitive to air pollutants dissolved in
rain. The presence or absence of certain lichens is
a good indicator of pollution levels: what’s good
for their health is good for ours, too.
Michael Blencowe, Sussex Wildlife Trust
....97....

INSIDE LEFT: BRIGHTON FESTIVAL CHORUS, 1970
.....................................................................................
This picture, printed with kind permission of The
Argus, is of the Brighton Festival Chorus practicing
prior to the Brighton Festival of 1970. It was
taken in the JMS Lecture Theatre at the University
of Sussex on April 18th of that year, and the
chorus are busy rehearsing Bach’s B Minor Mass.
The picture really brings a flavour of the times.
These may have been classically-trained singers,
but judging by the knees of the girls and ladies
in the front row, every one of them is wearing a
mini skirt. There are a couple of priceless hair-dos
on show as well, not least that sported by the
sun-tanned lady in the third row up, who, by dint
of the fact she is the only person looking at the
camera, becomes the punctum of the picture.
The ladies are silent at this point; look at the men
behind and you can see that they are busy singing.
Brighton Festival Chorus was founded two years
before, by Hungarian director Laszlo Heltay, specifically
to participate in the second-ever Brighton
Festival, during which they performed Belshazzar’s
Feast, conducted by the composer of the piece,
William Walton. They have gone on to become
one of the country’s most respected choirs, regularly
performing in London and further afield,
and collaborating with orchestras of the highest
calibre. Guest conductors have included André
Previn and Simon Rattle.
In the 1970 Festival this bunch performed two
concerts at Brighton Dome. Bach’s B Minor Mass
was conducted by the formidable German maestro
Karl Richter on the 9th May; the Chorus sang
in conjunction with the Sussex University Choir,
accompanied by the English Chamber Orchestra.
On the 17th, in the same venue, the then-just-25
Daniel Berenboim – now Music Director of the
Berlin State Opera - conducted the choir, along
with the New Philharmonia Orchestra, performing
two Beethoven pieces, Fantasia and the
spectacularly rousing Symphony No 9.
The modern-day version of the Chorus still
rehearse in the same lecture theatre; this year
sees their 50th birthday, and to celebrate they
are going to reprise their first-ever performance,
with what should be an exuberant rendition of
Belshazzar’s Feast on the 27th, accompanied by
the Royal Philharmonic Orchestra, no less, and
conducted by Sir Richard Armstrong. This follows
a performance of Britten’s War Requiem, with Britten
Sinfonia, and the Orchestre de Picardie. Both
take place in the Chorus’ spiritual home, Brighton
Dome Concert Hall. Alex Leith
....98....

14–16 JUNE 2018
lEWES
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Performed by some of today’s most exciting musicians
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VENUES: Depot Cinema | Trinity Church, St John Sub Castro
St Michael’s Church | All Saints Centre

Kronos
QUARTET
In a unique double bilL
Part 1 with
Sam Green
live documentary
performance
of Sam Green
and Joe Bini’s
A Thousand
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‘SOLID GOLD
WONDERMENT’
‰ ‰ ‰ ‰ ‰
FROOTS
Part 2 with
Trio da Kali
SUN 20 MAY, 7.30PM | BRIGHTON DOME
brightonfestival.org 01273 709709 #brightOnfestivAl
∏Lenny Gonzalez