Category Archives: Exhibitions

Was the fiddler framed? How Nero may have been a good guy after all

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He was a demonic emperor who stabbed citizens at random and let Rome burn. Or was he? We go behind the scenes at a new show exploding myths about the ancient world’s favourite baddie

Nero comes with a lurid reputation. “The main thing we know about him is his infamy,” says Thorsten Opper, curator of the first British exhibition devoted to the Roman emperor. “The glutton, the profligate, the matricide, the megalomaniac.” Also, the pyromaniac: famously, Nero “fiddled while Rome burned”, or at least strummed his kithara to one of his own compositions, The Fall of Troy, while a fire, supposedly begun by him, destroyed three of Rome’s 14 districts and seriously damaged seven.

His afterlife on the page and screen is certainly arresting. Nero inspired some of the greatest Renaissance and baroque operas, notably Monteverdi’s L’Incoronazione di Poppea and Handel’s Agrippina, which chart the emperor’s adulterous love for Poppaea, who became his second wife. In the epic 1951 movie Quo Vadis, Peter Ustinov played Nero as entirely unhinged: a mincing, purple-swathed toddler in a man’s body. Christopher Biggins took him on in I, Claudius, the classic BBC adaptation of Robert Graves’s novel, and made him power-hungry, baby-faced and quite, quite mad.

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Help, it’s 1,000 trillion degrees in here! The Big Bang artwork that makes scientists cry

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What would it have been like to be inside the Big Bang? We meet the ultra-hi-tech art duo who are using light, sound and sub-atomic astro data to recreate the biggest explosion ever

‘Step into the heart of the Big Bang,” says the advert for Halo, a walk-in, 360-degree, audiovisual installation about to open in Brighton. Come off it, I want to retort. You couldn’t “step” into the Big Bang without first travelling 13.8 billion years back in time and then being extremely miniaturised. After all, the universe was, according to one estimate, just 17cm in diameter at its inception.

What’s more, it was dark inside the Big Bang. In fact, there was no light at all. True, if you stuck around for 380,000 years, according to Nasa, you might have been able to see something because that was when free electrons met up with nuclei and created neutral atoms that would have allowed light to pass through. But who has 380,000 years to hang around waiting in the dark?

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First-hand stories shed new light on Nazi death marches

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Wiener Holocaust Library in London has gathered testimonies and photographs of forced evacuations at end of second world war

First-hand accounts from survivors of Nazi death marches, which formed a last ruthless chapter of the genocide, are to go on display with testimonies translated into English for the first time.

During the death marches, tens of thousands of people died on roadsides of exhaustion, shot for failing to keep up, or murdered in seemingly random massacres as the Nazis moved people from concentration camps before liberation by the allies, leaving a trail of blood across Europe.

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Would you pay £99,000 for this self-lacing Nike? Sneakers Unboxed review

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Design Museum, London
From battered Vans to box-fresh Adidas, how did sneakers become an $80bn-a-year global industry? This fun show has all the answers – including how to get really fat laces

‘It was all about being the freshest,” says Koe Rodriguez, toothbrush in hand. “That’s how you pulled honeys, how you got respect from the hard rocks. That’s how you laid your game down. It was all about being fresh.” The hip-hop historian’s not talking about his teeth, though, but his sneakers.

Rodriguez appears in Just for Kicks, a 2005 documentary about sneaker culture that also features an MC explaining his painstaking monthly shoelace-cleaning ritual. Treating his precious laces as if they were the finest cashmere, he would carefully scrub them between his clenched knuckles, then pinch out the water, squeeze them with a towel, and press them with the tip of a hot iron, to make them as wide as possible. “They gotta be fat,” he insists.

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Tracey Emin on beating cancer: ‘You can curl up and die – or you can get on with it’

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As she starts to rebuild her life after surgery, the artist shares her unflinchingly honest cancer self-portraits, talks about seeing dead people in hospital walls, and explains why she’s buying herself a punchbag – and kittens

‘I’m smiling and talking to you,” says Tracey Emin, sitting at her kitchen table. “But it’s not always like this.” We’ve been delaying this conversation until she finally felt well enough. She has been spending a lot of time in bed, just resting. On the phone, she sounded weak, but today she is indeed smiling, getting excited as she speaks – the Tracey who I have been fortunate enough to get to know.

“Now I’ve got a terrible pain in my legs, it’s unbearable. That’s why I’ve been in bed. I’m determined to go for a walk later because I hardly ever go out. I have a urostomy bag, so I have a major disability. The more well I get, the more annoying it is. Previously it was all right because I was on morphine. But now I want to do things and I can’t.”

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David Hockney on joy, longing and spring light: ‘I’m teaching the French how to paint Normandy!’

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While enjoying an idyllic lockdown in France, the 83-year-old artist has created perhaps his most important exhibition ever – offering hope to an injured world

‘I think it looks terrific,” says David Hockney. “It’s all on one theme, isn’t it? And there’s not many exhibitions like that, really, a show all about the spring.” The 83-year-old artist is taking a look around his new exhibition at the Royal Academy in London for the first time. He seems happy with it – and rightly so, for it is hypnotic and ravishing. But while I am getting a sneak preview in person, Hockney is here only virtually, his face appearing on two screens, one a giant TV, the other a small laptop.

He is at home, at what he calls his “seven dwarves house” in Normandy, wearing a red, black and white check jacket, a checkerboard tie, a blue-green pullover and round, gold-framed glasses. His kaleidoscopic choice of clothing, challenging the very limits of the video call’s bandwidth, is as vibrant and beguiling as the canvases hanging around us. Hockney has not just painted spring; he has come dressed as it.

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‘We go after them like pitbulls’ – the art detective who hunts stolen Picassos and lost Matisses

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Christopher Marinello has spent three decades finding missing masterpieces, recovering half a billion dollars’ worth of art. He talks about threats from mobsters, tricky negotiations – and bungling thieves

One summer morning in 2008, Christopher Marinello was waiting on 72nd Street in Manhattan, New York. The traffic was busy, but after a few minutes he saw what he was waiting for: a gold Mercedes with blacked-out windows drew near. As it pulled up to the kerb, a man in the passenger seat held a large bin-liner out of the window. “Here you go,” he said. Marinello took the bag and the car sped off. Inside was a rolled-up painting by the Belgian artist Paul Delvaux, Le Rendez-vous d’Ephèse. Its estimated worth was $6m, and at that point it had been missing for 40 years.

Marinello is one of a handful of people who track down stolen masterpieces for a living. Operating in the grey area between wealthy collectors, private investigators, and high-value thieves, he has spent three decades going after lost works by the likes of Warhol, Picasso and Van Gogh. In that time, he says he has recovered art worth more than half a billion dollars. When I call him, he answers, then abruptly hangs up. “I was just on my way to a police station to recover a stolen sculpture,” he explains later, apologising.

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Crude, obscene and extraordinary: Jean Dubuffet’s war against good taste

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He was the inventor of ‘art brut’ who rebelled against his parents, his teachers and then art itself. Yet the impact of his wild provocative paintings, often culled from graffiti, can still be seen today

Which great artist of the 20th century has been most influential on the 21st? Neither Picasso nor Matisse, as they have no heirs. And not Marcel Duchamp, however much we genuflect before his urinal. No, the artist of the last century whose ideas are everywhere today was a wine merchant who took street art and fashioned it into something extraordinary more than 75 years ago.

After four years of Nazi occupation, you’d think Parisians would have been unshockable. But in 1944, the newly liberated city was sorely provoked by the antics of Jean Dubuffet. Even as the last shots were fired, he was creating newspaper collages bearing the fragmentary graffiti messages he saw in the streets: “Emile is gone again”, “Always devoted to your orders”, “URGENT”. In the next couple of years, he unveiled shapeless, childlike paintings that abandoned all pretence at skill.

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‘We needed to rescue the nation from despair’: culture’s year of Covid

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Comedians went virtual, Ai Weiwei went to Portugal – and Bake Off pledged the show would go on. In the first of a two-part series, cultural figures look back on a year that shook their industry

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Gilbert and George on their epic Covid artworks: ‘This is an enormously sad time’

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The artists have responded to the pandemic with comic, haunting works showing themselves being buffeted around a chaotic London. They talk about lines of coffins, illegal raves and ‘shameful’ statue-toppling

As they call themselves living sculptures, I can’t resist asking Gilbert and George what they think of all the statue-toppling that took place last year. When I ask for their verdict on the removal of public works that have been accused of celebrating slavery and colonialism, they are sceptical.

“We would call that shameful behaviour,” says George. “And it’s very odd – because normally those statues are totally invisible. Nobody ever looks at them. I remember, very near my home town, there’s a statue of Redvers Buller, the hero of the Boer war, surrounded by dying Zulus and things. And if you asked people in Exeter, ‘Where’s Buller’s statue?’, none of them knew. It’s a bit silly. Rewriting history is very silly.”

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A building as big as the world: the anarchist architects who foresaw rampant expansion

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Italy’s Superstudio collective warned against rampant development by imagining one continuous structure stretching around Earth. But did their warning actually inspire new Saudi plans for a 100-mile linear city?

There was a sense of deja vu last week when Saudi Arabia’s crown prince, Mohammed bin Salman, unveiled his plans for a futuristic 100-mile-long linear city, momentously titled The Line. The dramatic promotional video showed aerial views of a glowing urban ribbon cutting right across the country, forming a “belt of hyperconnected future communities” from sea to sea. It will be free from cars, he declared, powered by renewable energy and run by artificial intelligence, slicing straight through the Arabian desert in one continuous strip. As part of the country’s $500bn Neom development, the plan was trumpeted as a “civilisational revolution that puts humans first”; but it had inescapable echoes of another project with a very different purpose.

Three thousand miles away, in a gallery in Brussels, hangs a 1960s photomontage of an eerily similar vision, part of a new exhibition about the radical Italian architecture collective Superstudio. A great white oblong is depicted cutting through a desert, slicing through sand dunes and marching past palm trees in an unbroken urban block, its surface inscribed with an endless square grid.

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Want to understand the Capitol rioters? Look at the inflamed hate-drunk mobs painted by Goya

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The horrific visions of the Spanish painter are about to go on display at New York’s Met. Americans should flock to this timely show – because no artist better captured collective delusion and mass fanaticism

The macabre art of Francisco Goya, the first truly modern artist, is due to be exhibited at the Metropolitan Museum in New York next month and there could hardly be a more urgent moment for Americans to look at his images. For, over 200 years ago, this Spanish artist perfectly captured the kind of collective delusion and mass fanaticism that swarmed the US Capitol last week. The mob of Trump supporters who assaulted the home of American democracy were as inflamed as the crowd who march with crazed eyes behind a manic musician in The Pilgrimage to San Isidoro, as dangerous as the hate-drunk crowd in The Second of May 1808, spellbound by their goat-headed charismatic idol.

And then there’s The Burial of the Sardine, in which a delirious crowd cavort around a huge banner of a madly grinning face. At first glance, it seems to be a joyous carnival scene, but look closer and the intensity of their rite becomes unsettling as you notice that face on the banner, their vacant lord of the dance. It has a definitive Trumpian air.

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Beirut’s wounds on show in display of art damaged by port blast

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Exhibition presents torn paintings and grazed sculptures in a museum itself hit by explosion

Through the entrance is a version of Guido Reni’s 17th-century portrait of St John the Baptist, blown to shreds. Nearby, a chandelier lies splattered on the ground where it fell. Mirrors are cracked, paintings ruptured, and roofs in some rooms half-caved in.

Beirut is slowly rebuilding from the explosion on 4 August that destroyed much of its eastern seafront neighbourhoods and tore through galleries and hotel lobbies where some of Lebanon’s most renowned art was on display.

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Myrrh mystery: how did Balthasar, one of the three kings, become black?

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They are a Christmas card staple – the three kings who followed a star to the baby Jesus. But one of them caused a revolution in art. We unravel the mystery of the Magi

They came bearing gifts of gold, frankincense and myrrh. This description of the Magi, the three kings or wise men who followed a star to the newborn Jesus, has always given artists plenty of scope to depict ornate boxes, cups and vessels. Paintings show them followed by pages, servants, soldiers and pack animals – an entire royal retinue. Dressed in their finest, making their way across deserts and over mountains guided by a light, these pilgrims to the lowly stable always look magnificent.

Although the Gospel of Matthew does not give individual names to this regal trio, we know them as Balthasar, Caspar and Melchior, thanks to a Greek manuscript from AD500. It was in the middle ages, too, that they were promoted from astronomers to kings. And a text attributed to the Venerable Bede, the historian monk from Northumbria, makes Balthasar black. Despite Bede’s assertion, there are very few images of a black Balthasar before 1400, possibly because medieval Europeans had so little concept of Africans. It was only with the dawning of the Renaissance that Balthasar’s colour began to be emphatically depicted. In fact, the trumpeting, joyous festive subject of “the adoration” inspired some of the richest portrayals of black people in European art.

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Masked Horses: photographs by Tim Flach

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Wildlife photographer Tim Flach’s series Masked Horses speaks to the role of the horse as a companion to humankind over the ages. A disguise, or a protection the images reflect on our current pandemic. Flach’s animal photographs have often been likened to classical portraiture and his portraits of horses wearing gas masks, head protectors, equine inhalers and blindfolds are both captivating and disturbing

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From Martha Washington to Melania Trump: 250 years of first lady portraiture

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Portraits of presidents’ wives have evolved with the role, and although it remains highly gendered, a new exhibition aims to celebrate their contribution and to ‘rectify the absences of women in US history’

Bess Truman, US first lady from 1945 until 1953, has not become the sort of historical figure people quote on Instagram. “A woman’s public role is to sit beside her husband, be silent, and be sure her hat is on straight,” she said, even though, behind the scenes, she was nicknamed “the Boss” and wrote many of President Truman’s speeches.

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Pavement Picassos: the locked-down artists showing work in their windows

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Galleries are closed due to Covid – so a group of artists have taken to displaying their work from their houses for passersby. Our writer takes to the streets

It is not a good time for art lovers. The second lockdown has closed galleries once more – I’m imagining portraits waiting moodily in the National Gallery in London to be admired again; Van Gogh’s sunflowers wilting further – and so it is not a good time for artists.

Artists Walk is an initiative that aims to improve that state of affairs. It’s a simple idea for an art trail that began as a joint endeavour between printmaker and painter Rosha Nutt, and her art marketing consultant friend Holly Collier. Those who in normal times would be exhibiting in galleries or community spaces can now place their work in the windows or surroundings of their homes for passers-by to admire. Kind of like “how much is that doggy in the window?” Except that it might be that Picasso sketch of his dachshund.

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‘We have lost a limb’: Azu Nwagbogu, the visionary curator bringing African art home

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From helping photographers capture the Nigerian protests to exhibiting during a pandemic, the director of LagosPhoto festival has had his work cut out. Now he wants to fight ‘afro-pessimism’ and the posturing around Black Lives Matter

When I first spoke to Azu Nwagbogu, the recent protests against police brutality in his native Nigeria had just entered their second week. The curator was upbeat, describing them as “an incredible awakening”. A week later, when we made contact again, he sounded more sombre, but no less defiant, following the fatal police shootings of at least 12 protesters at the Lekki toll gate in Lagos, the main gathering point for the daily demonstrations.

“This protest is not about ‘the poor masses’,” he tells me. “My sister, who is a medical doctor and a consultant anaesthetist, was active in the protests. Everyone who isn’t in government has had enough. The genie has been let out of the bottle and it won’t go back in without the wishes of the people being fulfilled.”

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