There’s something different about London this summer. The Olympic feelgood factor coupled with a bit of actual sunshine after the seemingly interminable rain means we seem to have found ourselves in a mood to both celebrate our country and the odder aspects of its history and traditions and to jump about. On hand to help out – as part of the London 2012 Festival, the culmination of the Cultural Olympiad – is Jeremy Deller’s Sacrilege. As playful reworkings of our heritage go, a life-size bouncy castle version of Stonehenge certainly hits the spot (especially as it comes complete with anxious announcements about health and safety).
Marcos Saboya and Gualter Pupo, aMAZEme, installation in Royal Festival Hall, 2012
If someone had asked me to imagine what 250,000 books looked like, I’m not sure I’d have had a clue. A quarter of a million anything is a lot, that much I do know. But I was always rubbish at guessing the number of smarties in the jar at fêtes, and those numbers were always in the hundreds which is much more manageable somehow. Anyway, in case you happen to be wondering what 250,000 books looks like, there they are, made into a maze resembling the fingerprint of Brazilian writer and educator Jorge Luis Borges by artists Marcos Saboya and Gualter Pupo in the Clore Ballroom at the Royal Festival Hall. As with almost everything else in London this summer, it’s part of the London 2012 Festival, the culmination of the Cultural Olympiad.
The World in London (Park House, Oxford Street), 2012
The World in London, which I wrote about in the previous post, is unusually in that the exhibition is being shown at the same time in two venues in the same city (although the Oxford Street installation will stay on display after the Olympics close on 12 August). Although the design of the two installations is recognisably the same in terms of its graphic identity – which is kept very simple, and although my preference would generally be to see images on white the black background does work reasonably well here – the way the work is shown is rather different and offers two different readings of the collection of photographs.
On Oxford Street, the images are displayed as a grid, albeit an uneven one with some images larger than others, in part because of the range of formats used by the photographers but occasionally determined by the architectural grid of the building. Exhibiting photographs in a grid is a strategy used by Bernd and Hilla Becher who grouped their pictures of industrial buildings together by type and it’s hard not to read grids of photographs as typologies.
Londoners come from anywhere and everywhere. Once you move here, you become a Londoner whether you came here from Surrey or Sudan. With the world coming to London for the Olympic games, The Photographers’ Gallery decided to commission a series of portraits of Londoners for a public art exhibition called The World in London. The aim was to find and photograph a Londoner from each of the 204 countries sending a team to the Olympics. They almost managed it; there are two or three places from which no Londoners have yet been found: American Samoa is one, Nauru another (there may be more that I’ve forgotten about), but the exhibition lives up to its title.