A CULTURE OF RESISTANCE: FIGHTING FOR RADICAL ART IN INCREASINGLY GENTRIFIED NORWICH

by Jack Brindelli

As the dust continues to settle on soon to be post-EU Britain, I’ve been thinking a lot about the place I call home. Norwich has been my city for quarter of a century now, and as my Granny says of such milestones, “You get less time for murder.” Norwich is infamously disconnected from the world, with visiting football fans often singing “there’s only one road in Norfolk” to Guantanamera at Carrow Road – and as much as it pains me to admit it, the isolation is a real problem.

The fact we’re so cut off from outsiders rubs off on our city’s attitudes towards culture in particular – with a quintessentially Little England village-mentality that boasts of being an UNESCO City of Literature in a town perpetually threatening its libraries with cuts, and renders us fiercely defensive of our ‘doing different’ status-quo, who year on year wheel out the same tired Lord Mayor’s procession, Castle firework display, and cover-band music festival, while remaining collectively suspicious, and sometimes even hostile to new ideas.

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NOTHING AS IT SEEMS: A REVIEW OF WILL TEATHER’S INFINITE PERSPECTIVES EXHIBIT

by Hannah Rose

Tiny cheerleaders, an umbrella on the moon, portraits of dead rock stars – all of these and more can be found in the uncanny paintings of Will Teather. Time’s inconsistency runs throughout this unnerving exhibition. Teather plays with time in a way that would be funny if it wasn’t so unsettling. But then again, isn’t that the mark of a significant piece of art? To catch the viewer unawares?

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REVIEW: DICKO/MATTHEW DICKERSON IN YALLOPS

by Carmina Masoliver

Along St Augustine’s Street in Norwich, you will find a collection of gallery spaces that are part of Nunns Yard. These include Nunns Yard itself, Yallops and Thirteen A. They offer small unconventional spaces to exhibit contemporary art work, including a smaller hire fee of £10 per day for students.

During a recent visit to Norwich, I spent some time at Yallops Gallery and saw the private view of Matthew Dickerson’s fine art illustration work. He is known more for digital illustration and concept art, yet this exhibition featured nine framed original hand-painted ink pieces on A3 paper. These were on sale for an affordable price of £150.Continue Reading

REVIEW: THE WORLD GOES POP

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by Carmina Masoliver

I was moved to go to this exhibit with its promise that it would move beyond the mainstream artists we think of when we think of pop art, such as Andy Warhol, Robert Rauschenberg, and Richard Hamilton, working in the 1960s and 70s. I enjoy the work of these artists, but having seen them all before, I was intrigued to see more women exhibited, as well as those across the globe.

The literature on the exhibition states it ‘expands the notion of pop art into a far wider geographical context, showing how different cultures and countries contributed to the movement.’ With Warhol’s famous Campbell soup cans we had a critique of consumerism, yet the images shown at The World Goes Pop aim to challenge social imbalances, including the role of women and civil rights. Here, I will discuss some of my highlights from the exhibition.Continue Reading

LET’S TALK ABOUT SEX: THE INSTITUTE OF SEXOLOGY AND SEX IN THE AFTERNOON

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by Carmina Masoliver

I didn’t know what to expect from The Institute of Sexology, exhibited at the Wellcome Collection, but it was probably not the mass of phallic and explicit penis-shaped trinkets, supposedly associated with power. What would have been nice is the inclusion of similar vagina-inspired adornments. Nevertheless, it was bound to be that an exhibition about sex would highlight patriarchal power and women’s submissive role throughout history.

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