Author: East End Review

  • Original Gravity: documenting London’s brewing ‘revolution’

    Beavertown
    Hops spring eternal: inside Beavertown Brewery

    To talk about craft beer as a ‘revolution’ is surely a case of over-yeasting the hops, or over-sugaring the alcohol. At any rate – it has to be an exaggeration.

    But consider this. In 2007, there were 10 London breweries, a number that has swollen eightfold in a mere nine years. Craft beer, brewed locally and with a far wider and more ambitious flavour palate, has stolen a considerable march on mass-produced global brand lagers, for whom the way back, in East London at least, is not altogether clear.

    Original Gravity is a 30-minute documentary about London’s craft beer industry in which behemoths of the New Beer such as Peter Hills from Hackney Brewery and Logan Plant of Beavertown look back at how far the phenomenon has come.

    Writer Pete Brown, sitting in a pub with pint in hand, tells us that beer is the “social glue” of civilisation, a statement indicative of the film’s concern with the ‘romance’ of beer over the complexities of its creation.

    The new brewing we are told took off in the bowels of the 2008 recession as disgruntled (or maybe just redundant) office workers in their late twenties decided to swap the City for “something meaningful”.

    Inspiration came from America, as Evin O’Riodian of The Kernel Brewery recalls the variety of IPAs and craft lagers available there, and how he would return from Stateside trips to the comparatively barren beer landscape of London.

    Meantime, acquired by SAB Miller in May 2015, was the trailblazer we’re told, a brewery started by Alan Hook in 2000, based in a small lock-up in Greenwich, that went on to achieve ubiquity in London’s pubs.

    The owner of Sambrooks Brewery recalls how difficult it was in 2008, traipsing around London pubs trying to convince them to take a chance on a local beer. Now the tables have turned and pubs are proactively enquiring after new brews.

    Hackney Brewery claims to be the oldest in the borough, established in 2011, a decisive year apparently for the ‘revolution’ with Beavertown and London Fields Brewery also starting up.

    Much is made of the collegiate nature of independent brewing, with brewers sharing knowledge and even equipment in times of crisis. “It’s not really you against other neighbourhood breweries, at the end of the day it’s all of us together against terrible beer,” says Doreen Barber of the Five Points Brewing Company.

    Amid the banjo soundtrack and the talk of anti-corporate authenticity one could easily find reasons to be cynical.

    Afterall, only last December Camden Town Brewery was bought up by drinks giant AB InBev in a deal thought to be worth £85 million. So much for a ‘neighbourhood brewery’.

    Then there’s London Fields Brewery and its founder Jules Whiteway, the former leader of a drugs ring who was arrested in December 2014 on suspicion of tax evasion.

    But while the self-mythologising, almost evangelical tone to Original Gravity may not be to everyone’s taste, there is no denying that – whether a revolution or not – the industry has breathed fresh air into London’s pubs, and that the bad old days of identikit lagers on draft are unlikely to return.

    Watch Original Gravity at Hackney Brewery, 358 Laburnam Street, E2 8BB on 17 February.
    bit.ly/1P2MiWf

  • BAFTA win for Hackney director Asif Kapadia

    Asif Kapadia attends the UK Gala Premiere of†ëAmyí at Picturehouse Central, London on 30th June 2015.
    Asif Kapadia at the UK premiere of Amy

    Hackney director Asif Kapadia triumphed at Sunday’s BAFTA awards ceremony, winning the Best Documentary Award for his film about the life and career of singer Amy Winehouse.

    Amy looks at the life of the troubled jazz singer, who died in 2011 aged 27, using interviews with friends and family as well as archival footage.

    Kapadia, 44, who was born and grew up in Hackney, will now be hoping to make it a clean sweep at the Oscars, at which Amy will be vying for Best Documentary Feature.

    In his acceptance speech for the award, at the Royal Opera House in Covent Garden, Kapadia said: “We really fell in love with [Amy Winehouse] when making the film. And our aim and mission was to try and tell the truth about her. To show the world what an amazing person she was, how intelligent, how witty, how beautiful she was, before it all kind of got out of control and went a bit crazy.”

    The director last month revealed that he is working on a new documentary about the Argentine football legend Maradona.

  • Head of the Boxer: paintings by Taro Qureshi at Oxford House

    Taro Quereshi
    Paintings by Taro Qureshi

    Taro Qureshi is an artist ill at ease with modern society.

    His anger and frustration he channels into his work, with collages, illustrations and abstract paintings that reveal a profound sense of alienation.

    Head of the Boxer, the East London artist’s latest exhibition, opens at Oxford House in Bethnal Green in February. Qureshi’s style draws on movements such as expressionism and surrealism, yet within it all there is a clear voice and strong sense of originality.

    Qureshi’s parents, both psychotherapists, kept a large store of drawing materials in their home so that their patients could envisage their sufferings on paper. It was using these materials that Qureshi first found his inspiration as a child.

    Little wonder then that Qureshi’s work focuses on unconscious thought and spontaneous creation. He places emphasis on psychological freedom, and the exhibition aims to be a record of all those disorientating, negative thoughts that arise from a life spent in an urban metropolis.

    Politicians and corruption are the main focus of Qureshi’s ire, manifested in the exhibition through snippets of conversations and newspaper headlines.

    Head of the Boxer is at Oxford House, Bethnal Green, Derbyshire Street, E2 6HG until 29 February.

    Taro Quereshi 620 (1)
    One 4 The Road: artwork by Taro Qureshi

     

  • James Blake to headline Field Day

    James Blake at Øya Festival 2011, Norway, in 2011. Photograph: Kristoffer Trolle via Flickr
    James Blake at Øya Festival 2011, Norway. Photograph: Kristoffer Trolle via Flickr

    James Blake will be joining Field Day’s most electrifying line-up yet, as they ramp up celebrations for the Victoria Park festival’s 10th birthday.

    Blake, an British electronic musician, will be headlining the Saturday night at Field Day, news that is likely to send his fans into a feeding frenzy as they await Radio Silence, his new album, which is set to feature Kanye West.

    Field Day’s announcement is cleverly timed, since only yesterday (Thursday) Blake premiered new single ‘Modern Soul’ during his BBC Radio 1 residency.

    Blake last graced Victoria Park in 2011 on one of the smaller stages. Now, with the Mercury Prize-winning album Overgrown under his belt, and the promise of many more soulful tracks, he’s preparing a triumphant return.

    With the likes of PJ Harvey, Beach House and Sleaford Mods already confirmed, Victoria Park is set to be transformed into a music-lovers’ paradise this June, and although four months away, with this line-up it’s never too early to start looking forward.

    Field Day is at Victoria Park on Saturday 11 and Sunday 12 June 2016.
    Ticketlink: http://fielddayfestivals.com/tickets

     

  • Alternative V-Day Fair is a feminist celebration

    Alternative V-Day Fair is a feminist celebration

    We Can Do it
    Detail of World War II poster ‘We Can Do it’ by J. Howard Miller, 1943. Credit: Wikimedia Commons

    Instead of opting for syrupy sweets, fawning cards or doe-eyed teddies for your darling, go to Moth Club in Hackney Central this Sunday for a Valentine’s Fair with a kick.

    The Alternative V-Day fair offers you the chance to purchase tokens of undying affection for your other half, such as one of Babak Ganjei’s passive aggressive Valentine’s cards.

    Or if you’re on your lonesome, you can always decorate your very own pair of pants with writer and blogger Rosie Cherrington, as part of an installation exploring sex and feminism, or pick up a copy of Instant Hit zine to learn about a new breed of girl bands.

    The fair will be a celebration of women, feminism and girl power, raising money and awareness for Girls Against, a campaign led by a group of young women whose goal it is to end sexual assault and harassment at gigs.

    From 8pm a Girl Power Pub Quiz, hosted by Sister Magazine, will put you in with a chance of winning tickets to Lovebox or Citadel festival, followed by a screening of Heathers, the film that gave a voice to female teen-angst bullshit with or without a body count.

    There will also be DJ sets from Cosmic Strip and Middle Fingers, a flash sale from Into You Tattoo’s Emily Johnston (with all proceeds going towards Girls Against), and artworks from Please Kill Terry and Soft Taboo.

    The event runs from 5pm to midnight on 14 February – entry is free but donations are very welcome.

    Moth Club, Old Trades Hall, Valette St, E9 6NU.

    Alternative_VDay_Moth_Club

  • Bethnal Green arts hub at risk of eviction awarded protected status

    Nowhere
    Nowhere arts space on Bethnal Green Road. Photograph: Russell Parton

    A film and community art space in Bethnal Green at risk of losing its home celebrated a ‘huge victory’ after Tower Hamlets Council upheld its legal status as an Asset of Community Value (ACV).

    No.w.here, an artist-run space founded in 2004 that runs workshops, discussion groups, screenings and exhibitions, moved to secure ACV status last September after lease negotiations for its home at 316–318 Bethnal Green Road stalled.

    Two appeals to Tower Hamlets Council to overturn the ACV status subsequently failed, with the latest announced on 4 December.

    The ACV status means that No.w.here, which houses film-making equipment unavailable anywhere else in the UK, now has the opportunity to buy the building should the landlord proceed with its plans to sell.

    And if No.w.here does request to make a bid, the landlord must wait until the end of a six month ‘moratorium period’.

    Karen Mirza, who founded No.w.here with fellow artist Brad Butler, said that she respects the landlord’s right to sell the building but that “you can’t just throw someone out of a building as and when you choose to profit from it”.

    However, Mirza added: “The ruling only gives the right to be considered as one of the bids, it doesn’t give us much power and it doesn’t give us much time to raise capital to make a bid.

    “But what it does do is make the buyer recognise that we actually exist, which was not happening before because the landlord was trying to sell with vacant possession.”

    James Holcombe is a filmmaker and head of lab and education at No.w.here. He showed me some of the bespoke equipment at No.w.here, including hulking machines for processing film by hand.

    “There are some countries, such as Spain, where this kind of equipment doesn’t exist anymore and there are no spaces like this,” he said.

    “People fly over for a couple of days, use the equipment and fly back with a suitcase full of film. If you’re interested in chemical film this is your space, but it’s more than just film, it’s a community project, as we have language classes, events and symposia.”

    According to Mirza the type of heavy, industrial equipment used at No.w.here is ideally suited to their current warehouse premises, and moving would undo more than ten years’ work of establishing a community of artists.

    “We house industrial technology that goes back to the mid to late Sixties, and some of our machines weigh ten tonnes.

    “The type of industrial spaces that are there for this type of resource have become fewer and fewer as they’ve been turned in to residential.

    “We’re fighting not only for own rights but for the kinds of spaces that should exist within city centres. Urban spaces shouldn’t just about domestic lifestyles.”

    A petition on Change.org, which has gathered more than 1,000 signatories, seeks to lobby the landlord into renewing the lease of the artist-run space, which is an Arts Council England National Portfolio Organisation.

    www.change.org/organizations/nowhere

  • Get the picture: ‘Brockley’ by Tim Stoner

    Tim Stoner
    Brockley (2015), by artist Tim Stoner

    Tim Stoner is a painter’s painter, and his new series, currently showing at Modern Art gallery, is a feast of painting languages and histories.
    Determinedly straightforward and reflexive in impulse and expression, Stoner’s paintings can be described as happenings.

    It is the collision of different elements from different angles that makes them happen. Here is an artist most interested in those elements that are in tension, where there is a fight, a battle or an antagonistic problem in the painting that has to be worked against.

    In Brockley (2015), the interior of a café pictorially echoes Stoner’s first studio at Norwich School of Art (the detail of the table on the left). Different layers and ‘absences’ play off against each other. The outline of distant houses and the interior of the room seem ‘real’, or at least hold more naturalistic information than the floating circular table.

    The other tables are more ‘empty’ and play with the perspectival opening up of the space. Colour takes on an individual and autonomous character. The figure on the left brims with a radiant red, while parcelled or sectioned spaces of the painting tell their own stories.

    Memory is a material of these paintings, part of a drive toward essentialism and sensory attentiveness. It is reflected in the clarity of the drawing and confidence in the selection of essential details included or taken out.

    Brockley recalls the reflective interior light of Rembrandt’s Philosopher in Meditation (1632) while in conscious dialogue with the ‘caveman’.

    In common with many of Stoner’s paintings, it flips between intertwining, figurative compositional meaning and the abstract, sensorial meaning of the effect of colour or shape.

    Tim Stoner: Wisdom of the Crowd is at Modern Art, 4-8 Helmet Row, EC1V 3QJ until 20 February
    modernart.net

  • Family connection to Mayflower pilgrims inspires play

    Don
    Don’t Waste your Bullets on the Dead

    Researching family history is big business, and it is easy to see why. Who wouldn’t, afterall, want to know if they were distantly related to a former president of France, or be tempted to see themselves afresh in the light of newly discovered relations?

    Playwright Freddie Machin managed to trace his own ancestry back centuries to uncover a story that he has used as the basis for his new play, Don’t Waste Your Bullets on the Dead, which premieres at Vault Festival this month.

    I might be related to someone who was on the Mayflower ship that went to America in 1620,” says Machin, a 30-year-old writer and actor based in Stoke Newington.

    That someone is John Billington, who has the dubious honour of being the first English settler to be executed in the newly-colonised land.

    Billington was aboard the Mayflower, the ship that transported the pilgrims from Plymouth, England, to the New World in 1620, a voyage that culminated in the signing of the Mayflower Compact, which established there a rudimentary form of democracy.

    John and Elinor Billington decided to leave England to escape their debts, but 10 years after their arrival John was convicted of murder and sentenced to be hanged.

    Machin’s play is not a retelling of their story. Instead it uses their story as the backdrop for a “metatheatrical piece” about someone who is writing a play about maybe being related to someone who was on the Mayflower.

    “It has an autobiographical starting point, but from there it ceases to have anything to do with me really,” says Machin.

    “We spend some time in 1620s and then I pull the rug and it comes back to the modern day. So there is a relationship between the writer and her own material. And in actual fact she comes face-to-face with her own character in the rehearsal room at one point.”

    Machin made his main protagonist female to distance himself from the narrative, but admits that Don’t Waste Your Bullets on the Dead could be seen as autobiographical in another way.

    “The main character is trying to choose between her relationship and writing this play, because writing for her – and for me too – is an all consuming act,” he says.

    “I’m writing something today about if you choose to be a creative or if you choose to take any path in life you will do so at the cost of other things.

    “The play presents a person at a crossroads, who has chosen to be a writer and finds she is having to compromise whether she wants to have a child in the future.”

    The character’s decision is whether to have a real life baby, or to give everything she has to the ‘baby’ that is the play.

    “I certainly feel like that,” Machin confides. “I’ve got a play going on, which means I’ve got no money and time for anyone else as all my energy and focus is going into the play.”

    Don’t Waste Your Bullets on the Dead is at The Vaults, Leake Street, SE1 7NN from 10–14 February. 
    freddiemachin.com

  • ‘The towers dominated the skyline’: Beaumont Estate revisited in new play at The Yard

    ‘The towers dominated the skyline’: Beaumont Estate revisited in new play at The Yard

    Joe Twiggs
    T’Nia Miller in rehearsals for Re: Home. Photograph: Joe Twiggs

    The Beaumont Estate in Leyton helped to transform the skyline of 1960s London. And for the first residents moving in, it represented the urban dream: affordable housing with stunning views and no outside toilets.

    But by the beginning of this century that view had changed. Ugly, poorly-constructed and with a reputation for anti-social behaviour, high-rises fell out of favour, and many were demolished.

    Among them were the Beaumont Estate towers, pulled down in 2006. This month a play at the Yard Theatre uses interviews with former and present residents of the estate to examine what our homes mean to us.

    Re: Home is directed by Cressida Brown, and comes ten years after her original play about the Beaumont Estate. That play, Home, was set inside one of the condemned towers prior to its demolition, and used interviews with former residents to create an urban family drama.

    “I had all these interviews so I just decided that as it’s 10 years to the month [since the demolition] that I’d revisit them. A lot of the people have moved, either into the new low-rises on the estate, or away completely. I thought I’d try to find the people I originally interviewed to see what had happened to them.”

    What emerges is a complex picture: on one hand, enhanced security makes the estate feel safer; but on the flip side, she says, fewer people seem to know who their neighbours are.

    “I interviewed one person who rather horribly was talking about the ‘civilising nature of architecture’ and that one of the reasons for tearing down the towers was that you could have these crack houses as hide outs in there, but now you don’t get everyone knowing one another and a sense of people looking out for you.”

    beaumont
    High rise and fall: All Saints’ and St Paul’s Tower from Leyton High Road. Photo credit: Wikimedia Commons

    Brown admits some anxiety about the idea of a “white middle class theatre-maker” parachuting into a community and making a play about the residents’ lives, and asks: “What right do I have?” It’s a question that makes its way into the play too.

    “A lot of the play is actually turning the looking glass back on the process of making the theatre, so what’s the editing process and the responsibility of dealing with real people’s words,” Brown says.

    “What we’ve done without trying to give it away is to throw the idea of being a witness or documenting other people’s lives back into the audience.”

    For people of a certain generation, not having St Catherine’s Tower or St Paul’s Tower on the skyline must seem strange. But demolitions happened in many London boroughs, so why choose to focus on the Beaumont Estate in the first place, I ask.

    “It’s a very notorious estate, it has lot of problems,” Brown replies. “And the towers had dominated the skyline and become almost an iconic space of the borough.”

    “But the second reason was totally accidental. I was looking for an empty building to do a play in and a man at Waltham Forest Council suggested I interview all the people who lived in this building that was going to be demolished and make the play a celebration of their community.

    “What’s weird about that is that using interviews has been the process for my theatre company ever since.”

    Re: Home is at The Yard Theatre, Queen’s Yard, White Post Lane, E9 5EN from 9 February– 5 March
    theyardtheatre.co.uk

  • Arcola Queer Collective: championing LGBT rights through theatre

    Rubyyy Jones PAul Gravce Evnts Photogrpahy
    Rubyyy Jones, by Paul Grace Events Photography

    Following the success of its anarchic take on A Midsummer Night’s Dream, The Arcola Queer Collective returns this month with an adaptation of The Little Prince.

    The French novella, first published in 1943, is the most translated and one of the best-selling books in the world. Written by the French aristocrat, poet and aviator Antoine de Saint-Exupéry, it is a philosophical tale about a pilot stranded in the Sahara desert who meets a prince fallen from an asteroid.

    The Arcola production will be directed by ‘queen of queerlesque’ performer and writer Rubyyy Jones. A favourite of the cabaret scene, Jones’s shows tend to be high in glamour, wit and provocation.

    There is more to great burlesque than sleaze and glitter, says Jones, who is an ardent feminist and self-proclaimed ‘sex educator’. Her work has a political message at its core. “My feminism is a sex-positive feminism. I’m really looking for equality, visibility and for all voices to be heard,” she says.

    In this respect, Jones is a good fit for the Arcola Queer Collective. Since its formation, the company has welcomed anyone who identifies as LGBT. The copyright to The Little Prince has recently entered the public domain, so this is not the only adaptation out there. This year will also see Mark Osborne’s stop motion film premiered at Cannes.

    The story of The Little Prince is celebrated for encapsulating the experience of being an outsider, as its deserted protagonist searches for love and meaning in a world that appears hostile and bewildering.

    For many, London’s rapidly-changing night life means the city risks becoming similarly alien. Over the past years, several East End LGBT venues such as the Joiners’ Arms and the George and Dragon pub have had to shut their doors permanently. Jones explains that queer spaces are vital, particularly as the relationship between gender identities and casting in theatre is still rigid.

    “I had no idea how much privilege I had when I was in a straight relationship, and it’s made me realise how hard it is for other people to feel recognised. One member of the collective told me they’d never been able to find a role in theatre where they can play their gender. As a self-identifying woman, I can’t imagine what it would be like for someone to tell me that I can’t play a woman’s part.”

    From chatting to Jones I’m nevertheless left with an overwhelming positively impression of the state of queer theatre today. “People are becoming accepting because there’s been a huge shift in society,” she says. “It’s an exciting time.”

    The Little Prince is at Arcola Theatre, 24 Ashwin Street,E8 3DL from 8–13 February
    arcolatheatre.com