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Exhibition Review : Turner Prize 2018 at Tate Britain – 26th September 2018 to 6th January 2019

The Tate Britain presents an exhibition of work by the four artists shortlisted for Turner Prize 2018, the artists are Forensic Architecture, Naeem Mohaiemen, Charlotte Prodger and Luke Willis Thompson.

Forensic Architecture presents its investigations surrounding the Bedouin communities of the Naqab/Negev region of southern Israel.

The videos, photographs and other documentary evidence investigate the events of 18 January 2017, a day on which an attempt by police to clear an unrecognised Bedouin village resulted in the deaths of two people.

Naeem Mohaiemen’s films and installations bring together archives, photographs and interviews that explore ideas of hope and loneliness.

Two Meetings and a Funeral is a documentary film shown on three screens, centring on the power struggle between the Non-Aligned Movement and the Organisation of Islamic Cooperation in the 1970s. Tripoli Cancelled is Mohaiemen’s first fiction film, following the daily routine of a man who spends a decade living alone in an abandoned airport.

Charlotte Prodger presents Bridgit which filmed on an iPhone over the course of a year. It is made up of recordings of the Scottish countryside as well as shots from inside Prodger’s home.

Sounds from her environment are overlaid with a narration read by the artist and her friends including extracts from her diaries and books written by figures from queer history.

Luke Willis Thompson works across film, performance and installation. His films examine the relationship between a person and their representation. For the Turner Prize, Thompson presents a trilogy of works on 35mm film: Cemetery of Uniforms and Liveries, autoportrait and _Human.

In these three films, Thompson reframes histories of violence enacted against certain people, and offers counter-images to the media spectacle of our digital age.

Established in 1984, the Turner Prize aims to promote public debate around new developments in contemporary British art. The Prize is often controversial with critics and the public debating the old ‘is it art’ argument, however this year the debate is likely to be more about the lack of diversity with all the shortlisted artists working with the moving image and being ‘issue based’. All this debate often overshadows the works which in 2018 offer a very personal look into the modern world even if they are presented in wider contexts.

The Turner Prize is one of the world’s best-known prizes for the visual arts and the award fund is £40,000 with £25,000 going to the winner and £5,000 each for the other shortlisted artists.

There will be a free entry to the exhibition for everyone aged 25 or under for the first 25 days of the show. The winner will be announced on Tuesday 4 December at an awards ceremony live on the BBC.

For more information or to book tickets, visit the Tate Britain website here

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Exhibition Review – Spanish Flu: Nursing during history’s deadliest pandemic at the Florence Nightingale Museum from 21st September 2018 until 16th June 2019

The Florence Nightingale Museum presents a special exhibition that explores the devastating impact of the Spanish flu pandemic 100 years ago, and the role of both professional nurses in military field hospitals and ordinary women at home, in caring for victims.

Although overshadowed by the events of the First World War, the Spanish flu outbreak was a deadly influenza pandemic which struck in the autumn of 1918, just as World War I was drawing to a close. It is estimated that Spanish flu infected half a billion people worldwide and killed 50-100 million, significantly more than the war itself.

The disease did not originate in Spain but because the country was neutral in the first world war, there was not a political clampdown on news concerning the disease.

It was estimated that a quarter of the British population fell ill with Spanish flu at some point during the pandemic and about 250,000 people died. The more serious strain of the influenza was unusual because healthy young adults seemed to be particularly at risk and it created gruesome symptoms, including explosive nosebleeds and distinctive blue tinged skin caused by a lack of oxygen as their lungs filled with fluid and pus.

People became desperate and would try many alleged ‘remedies’, the exhibition includes some of these including Quinine tablets, Aspirin, Opium , Boots Eau De Cologne. Oxo and a Creosote Vaporiser.  The exhibition also includes an experimental Influenza Vaccine developed by the Royal Army Medical College which was used in a desperate attempt to combat the virus.

Such was the speed of the pandemic and with resources stretched already by the war, essential public services began to break down with hospitals being  overwhelmed with patients, and a shortage of both coffins and gravediggers meant that the bodies of victims could remain unburied for weeks. A mourning card in the exhibition relates to four children from the Baker family in Nottinghamshire who all died of influenza within the space of two weeks in 1918.

A short animated film based  on the notes of Dr Basil Hood from the St Marylebone Infirmary in this period gives some insights into the problems faced. A number of nurses died in this period in the hospital which increased the difficulties of dealing with large numbers of patients.

The exhibition explores the often neglected role of the professional nurses and ordinary women who cared for the victims in the pandemic, Florence Nightingale’s pioneering nursing work during the Crimean War revolutionised the way nurses were viewed within society. With the outbreak of World War I, thousands of women were inspired to follow in her footsteps and volunteer as nurses. It was these women that would be vital in the treatment of casualties in the war and the victims of the Spanish flu in 1918.

This fascinating small exhibition highlights some of the aspects of the Spanish flu pandemic from 100 years ago that have largely been overlooked. Even though more people died from the pandemic than were killed in the war, it was the war that grabbed all the headlines and would be honoured in ceremonies. This particular strain of flu which is similar to ‘Avian’ flu strains was poorly understood and medicines had not been developed to deal with this kind of breakout. The exhibition includes some Tamiflu capsules that were used in the 2009 Swine flu pandemic, health organisations around the world stockpiled millions of these drugs to deal with any outbreak.

The end of the war led to millions of soldiers travelling across Europe and beyond which allowed the transmission of the disease to be quicker than normally would be the case. There were cases of soldiers who had survived the horrors of the war returning home to find their wife and children had died from the pandemic. The extreme forms of the ‘flu’ led to a rise in suicides and psychological breakdowns illustrating the enormous mental strain of dealing with the pandemic.

This exhibition and the many other events that mark the centenary of the Spanish flu pandemic provide important information about how pandemic outbreaks can develop and have catastrophic consequences. It seems remarkable that the many victims of the pandemic have often been forgotten in contrast to the war dead, there are few if any memorials or plaques that remembers the Spanish flu pandemic of 1918 despite the massive loss of life.

Visiting London Guide Rating – Highly Recommended

Spanish Flu: Nursing during history’s deadliest pandemic exhibition at the Florence Nightingale Museum – 21st September 2018 until 16th June 2019

Florence Nightingale Museum, 2 Lambeth Palace Road, Lambeth, London SE1 7EW

For more information, visit the Museum website here

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Since our launch in January 2014, we have attracted thousands of readers each month, the site is constantly updated.
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Exhibition Review – ‘This vexed question’: 500 years of women in medicine at the Royal College of Physicians from 19th September 2018 to 18th January 2019


England and Wales’ oldest royal medical college, the Royal College of Physicians, marks its 500th anniversary with a major new exhibition that explores prevailing notions of female participation in the medical professions and wider society. The exhibition entitled ‘This vexed question’: 500 years of women in medicine runs from 19 September 2018 to 18 January 2019.

The exhibition provides evidence that female apothecaries, herbalists, writers of medicinal recipes, midwives  and doctors  have all worked within a male-dominated world for many centuries.

The exhibition uses a range of rare and personal objects, from medieval records to medical equipment, letters to portraits, to tell the story of some Britain’s earliest female clinicians. From 13th century Leominster is a charter asserting the existence of a set of medical siblings: one brother and his two sisters, the women doctors Solicita and Matilda. Elizabethan England was home to Alice Leevers, whose trial and punishment on several occasions for illegally practising medicine, is recorded in a section of the Royal College of Physicians’ own annals on view for the first time ever.  

The 17th century offers an array of fascinating figures and artefacts. Medical recipe books by, amongst others, Elizabeth Grey, Countess of Kent and the mysteriously named ‘Madame Pyne’, offer some insights as does an advertisement from the 1680s for the services and products of ‘Agnodjice: the woman physician’. Early evidence of the systematic exclusion of women from the medical profession comes in an act of parliament from 1511, it features women amongst the ‘great multitude of ignorant persons’ that illegally carried out ‘the Science and Cunning of Physick and Surgery’.

However, it was in the 19th century that the pressure to allow women to be allowed to enter the medical professions began to form with a number of female pioneers. Elizabeth Garrett Anderson is one of the best known of these reformers and is widely thought to be the first woman to qualify as a doctor in Britain. Her original certificate of 1865 provides evidence of passing exams but many female doctors like Anderson, Elizabeth Blackwell the Anglo-American clinician who was the first woman included on the Medical Register in 1859 and Sophia Jex Blake often received their formal qualifications as doctors from overseas. The three women eventually came together to establish the London School of Medicine for Women which opened in 1874 as the first institution of its kind in the world.

The fight for recognition in the medical profession for females often mirrored the fight for wider rights and the exhibition features a section that illustrates some of these issues. A never previously displayed letter from Dr Louisa Garrett Anderson (daughter of Elizabeth) to her employers warns that she may face arrest and imprisonment on account of her suffragette activities.  In the exhibition is a handkerchief embroidered by suffragette inmates at Holloway Prison in 1912 that includes the name of Dr Alice Kerr, a GP.

The final word goes to the voices of medical women from the last 100 years, a series of  audio testimonies, many captured by the Royal College of Physicians’ ongoing oral history project which allows the women to describe their own experiences of 20th century and contemporary medicine.

This fascinating exhibition provides plenty of evidence that women in many ways were involved in medical practices over the last 500 years. It was when medicine became known a profession that there was considerable opposition to female participation. Even then women found a way around some of these restrictions. The exhibition tells the remarkable story of Dr James Barry, who rose to be one of the British Army’s most senior medical officers. However, Barry was born Margaret Anne Bulkley and only began living as a man from late teenage years, possibly in order to secure a career in medicine.

This small free exhibition is located in the Royal College of Physicians building near Regent’s Park and is open from Monday to Friday from 19th September 2018 to 18th January 2019.

Visiting London Guide Rating – Highly Recommended

For more information, visit the Royal College of Physicians website here

London Visitors is the official blog for the Visiting London Guide .com website. The website was developed to bring practical advice and latest up to date news and reviews of events in London.
Since our launch in 2014, we attract thousands of readers each month, the site is constantly updated.
We have sections on Museums and Art Galleries, Transport, Food and Drink, Places to Stay, Security, Music, Sport, Books and many more.
There are also hundreds of links to interesting articles on our blog.
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Exhibition Review – Courtauld Impressionists: From Manet to Cezanne at the National Gallery from 17th September 2018 to 20th January 2019


For the first time in London for 70 years, the National Gallery displays major Impressionist and Post-Impressionist masterworks from the Courtauld Gallery, purchased in the 1920s by Samuel Courtauld. These paintings alongside paintings from the National Gallery’s own collection are shown in a new exhibition entitled Courtauld Impressionists: From Manet to Cézanne.

The exhibition tells the story of how two exhibitions of French Impressionist paintings in London in the late 1910s and 1920s had a profound impact on Courtauld who began to build up a two collections, one for himself and his wife and one for the nation. The collections of mainly French modern art were made at a time when the appetite for this kind of art in the UK was low, but Courtauld was a great supporter of Cézanne’s work in particular.

This exhibition of over forty works is centred around the loan of 26 masterpieces from the Courtauld Gallery, which is closing temporarily in September 2018 as part of a major transformation project. The exhibition traces the development of modern French painting from the 1860s to the turn of the 20th century and is arranged chronologically in 12 sections – each devoted to a different artist – includes the works of such key figures as Daumier, Manet, Renoir, Cézanne, Seurat, and Bonnard.

Highlights from Courtauld’s private collection, now part of the Courtauld Gallery, include Renoir’s La Loge (Theatre Box) (1874), Cézanne’s The Card Players (about 1892–6) and Lac d’Annecy (1896), Toulouse-Lautrec’s Jane Avril in the Entrance to the Moulin Rouge (about 1892), Manet’s A Bar at the Folies-Bergère (1882), and Seurat’s Young Woman Powdering Herself (about 1888–90).

These pictures hang alongside major works acquired for the national collection through the Courtauld Fund. This was set up in 1923 by Courtauld himself for the acquisition of modern French paintings and the works that were purchased now form the core of the National Gallery’s post-1800 collection. They include Renoir’s At the Theatre (La Première Sortie) (1876–7); as well as Seurat’s Bathers at Asnières (1884), Cézanne’s Self Portrait (about 1880–1) and Van Gogh’s A Wheatfield with Cypresses (1889) which were the first paintings by these three artists to enter a British public collection.

Walking around the relatively small and intimate exhibition, the visitor attention is drawn to many of the iconic Impressionist and Post-Impressionist paintings on view, Manet’s A Bar at the Folies-Bergère (1882) has been favourite in the Courtauld Gallery for decades and the same can be said for Seurat’s Bathers at Asnières (1884) at the National Gallery. Perhaps the most interesting part about the exhibition is to consider the different styles of the artists, although considered Impressionist and Post-Impressionist, each artist developed their own particular style which became instantly recognisable.

There are a couple of artists that perhaps not so recognisable like  Daumier and Bonnard but the main part of the exhibition is given over to the ‘greats of the period which include Manet, Renoir, Cézanne, Seurat, Toulouse-Lautrec, Van Gogh, Monet, Degas, Pissarro and Gauguin.

This remarkable exhibition is a testament to the taste and generosity of Samuel Courtauld  who went against critical and public opinion when he began to start his collection. He saw something in the then new French modern art that was new and exciting and he was determined that it would find its place in his private collection and public collection. Even he would probably have been surprised by the way that Impressionist and Post-Impressionist has gained favour amongst the art establishment and the general public over the last century. Whilst many of these picture have been on public view in London, the unique nature of this exhibition is likely to make it extremely popular with critics and the public.

Visiting London Guide Rating – Highly Recommended

For more information and book tickets, visit the National Gallery website here

London Visitors is the official blog for the Visiting London Guide .com website. The website was developed to bring practical advice and latest up to date news and reviews of events in London.
Since our launch in 2014, we attract thousands of readers each month, the site is constantly updated.
We have sections on Museums and Art Galleries, Transport, Food and Drink, Places to Stay, Security, Music, Sport, Books and many more.
There are also hundreds of links to interesting articles on our blog.
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Exhibition Review – Renzo Piano: The Art of Making Buildings at the Royal Academy of Arts from 15th September 2018 to 20th January 2019

The Royal Academy of Arts present an exhibition of the internationally-renowned architect and Honorary Royal Academician Renzo Piano. The exhibition entitled Renzo Piano: The Art of Buildings is the first comprehensive survey of Piano’s career to be held in London since 1989, and is located in the new Gabrielle Jungels-Winkler Galleries in Burlington Gardens.

Renzo Piano  is one of the world’s leading architects and is primarily known for his work on the Centre Pompidou in Paris, The Shard in London and the new Whitney Museum of American Art in New York.  In 1981 the architect founded the Renzo Piano Building Workshop (RPBW), located in Paris, Genoa and New York, which, with a team of 150 staff, has realised over 100 projects that include large cultural and institutional buildings, housing and offices, as well as urban plans for entire city districts.

Born into a family of Italian builders, Piano has incorporated the practical aspects of this background with experimentation with form, material and engineering to create a coherent whole. Piano is known for his attention to detail in the design process, constantly testing the way that the buildings will look and feel.

The exhibition offers  an overview of the architect’s practice through sixteen of his most significant projects, dating from his early career when he was experimenting with innovative structural systems, to some of his best known buildings of the present day. Highlights include Centre Pompidou, Paris (1971), Jean-Marie Tjibaou Cultural Centre, Nouméa (1998), The New York Times Building (2007), The Shard, London (2012), Jérôme Seydoux Pathé Foundation, Paris (2014) and Whitney Museum of American Art, New York (2015).

The projects are laid out on tables in a couple of the galleries and are a mixture of archival material, models, photographs and drawings. Each project display gives some insights into the design process but perhaps more importantly into the conceptual theme of each particular building.

To understand more about how Piano sees the world and the role of architecture within it, there is a specially commissioned film by Thomas Riedelsheimer in the central gallery.

Also in the central gallery is large centrepiece that is a sculptural installation designed by RPBW especially for the exhibition, illustrating 100 of Piano’s projects on an imaginary island.

Around the walls of the gallery are 32 photographs by Gianni Berengo Gardin, large drawings of various projects and hanging from the ceiling are various models of different pieces of materials used in the design process.

Architecture is often quite a difficult form to show in art galleries, very often models do not do justice to the large-scale of the actual buildings. However this fascinating exhibition is more concerned in providing some insights into the work, aspirations and achievements of an architect who believes in the many possibilities of architecture.  The new Royal Academy is committed to raising the profile and appreciation of architects and architecture, this high-profile exhibition provides a wonderful launching board for many other exhibitions on the subject.

Visiting London Guide Rating – Highly Recommended   

For more information and tickets, visit the Royal Academy website here

London Visitors is the official blog for the Visiting London Guide .com website. The website was developed to bring practical advice and latest up to date news and reviews of events in London.
Since our launch in January 2014, we have attracted thousands of readers each month, the site is constantly updated.
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There are also hundreds of links to interesting articles on our blog.
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Space Shifters at the Hayward Gallery – 26th September 2018 to 6th January 2019

Hayward Gallery’s Autumn exhibition Space Shifters features artworks by 20 leading international artists that alter or disrupt the visitor’s sense of space and re-orient their perception of their surroundings in ways that are subtle yet dramatic. The works in the exhibition focus the attention of the viewer on the act of perception whilst transforming their experience of the Gallery’s distinctive architecture. Often constructed from reflective or translucent materials like glass, resin and mirror, the artworks in the show aim to elicit surprising responses that are both physiological and psychological. They also comprise an alternative history of minimalism: not a geometric, austere, serial minimalism, but one with a more alluring, elegant and playful sensibility.

Space Shifters presents a range of historical and contemporary sculptures, as well as immersive, site-specific installations. It also premieres several major new commissions.  Participating artists include: Leonor Antunes, Larry Bell, Fred Eversley, Felix Gonzalez-Torres, Jeppe Hein, Roni Horn, Robert Irwin, Ann Veronica Janssens, Anish Kapoor, Yayoi Kusama, Alicja Kwade, John McCracken, Josiah McElheny, Helen Pashgian, Charlotte Posenenske, Fred Sandback, Monika Sosnowska, Daniel Steegmann Mangrané,DeWain Valentine, and Richard Wilson.

The earliest works in this group show are often associated with the ‘Light and Space’ movement which originated in the mid-1960s in the Los Angeles area. At this time, a number of the American artists included in the exhibition were experimenting with unconventional materials and innovative fabrication processes. One of the few female artists associated with Light and Space, Helen Pashgian contributes several epoxy and acrylic spheres and a series of large acrylic columns which use varying degrees of transparency and light to generate optical effects.

Many of the works created by these artists allow viewers to both see into as well as through the material of a solid sculpture. Robert Irwin’s work Untitled (Acrylic Column), 1969–2011 is a monumental and majestic clear acrylic column that rises over 4.5 metres in the Hayward’s upper gallery, yet is almost imperceptible, save for its refractive properties. Using an innovative spinning casting process, Fred Eversley creates sensuous coloured lenses through which viewers can witness the world anew.

Larry Bell, who explores similar concerns through the medium of glass, is represented in the exhibition by his first large-scale installation Standing Walls (1969/2016). Viewers can enter to experience its compounding reflections and effects whilst seeing themselves within the sculpture. Contemporary artists Ann Veronica Janssens and Roni Horn demonstrate the diversity of perceptual effects using glass by exploring colour in radically different ways. Janssens bonds reflective film between sheets of smashed glass that give her Magic Mirrors a dynamic, iridescent shine, while Horn’s large cast-glass lozenge Untitled (“Everything was sleeping as if the universe were a mistake.”), 2012–13 seems to contain an uncanny depth and liquidity.

In Space Shifters, several artists ponder the notion of reflection and that its definition holds a double meaning: the physical mirroring of an object and the contemplative act. The most dramatic example of this is Jeppe Hein’s 360° Illusion V, 2018, a huge rotating mirror sculpture that presides over the first gallery. This work reflects the surrounding architecture as well as groups of viewers, drawing them in with simultaneous inversions. Other reflective highlights of the exhibition include: Yayoi Kusama’s renowned Narcissus Garden (1966-), a landscape of hundreds of stainless steel spheres. Engaging the external environment, Sky Mirror, Blue (2016) by Anish Kapoor dramatically shifts a portion of the sky onto one of the Hayward Gallery’s distinctive sculpture courts.

Alicja Kwade’s WeltenLinie (2017) is shown for the first time since its premiere at the last Venice Biennale. This installation encourages the viewer to walk around and through its structure of frames, as objects seem to change appearance – a greyish rock turns to rusted metal, while a wooden tree trunk becomes a gleaming silver impression of itself.

Occupying an entire upper gallery, Richard Wilson recreates his monumental installation 20:50 (1987). Thousands of litres of recycled oil form a waist-high horizon that surrounds the viewer as they proceed down a gangway spliced through the inky liquid. The artwork’s glossy surface will reflect the Hayward Gallery’s new pyramid roof lights and the open sky beyond.

Several new commissions in the exhibition play off of the unique brutalist architecture of the Hayward Gallery building, taking on some of its more transitional spaces like the staircases and corridors. Daniel Steegmann Mangrané is inspired by the shape of the poured concrete stairwells and he has created, especially for this exhibition, curtains that echo their curves. Creating an equally delicate piece that cascades downward from one of the new Hayward Gallery ceiling coffers, Leonor Antunes conjures a light-filled volume of brass shapes. And while wandering through the galleries, visitors will encounter Josiah McElheny’s Interactions of the Abstract Body (2012) which keeps perceptions shifting – trained dancers wearing mirrored wooden costumes interact with visitors as well as other artworks in a continuous performance.

With spatial perception at its centre, Space Shifters is a fitting conclusion to the Hayward Gallery’s 50th anniversary, highlighting and making the most of some of the renovated building’s architectural features.

For more information , visit the Southbank Centre website here

London Visitors is the official blog for the Visiting London Guide .com website. The website was developed to bring practical advice and latest up to date news and reviews of events in London.
Since our launch in January 2014, we have attracted thousands of readers each month, the site is constantly updated.
We have sections on Museums and Art Galleries, Transport, Food and Drink, Places to Stay, Security, Music, Sport, Books and many more.
There are also hundreds of links to interesting articles on our blog.
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Renzo Piano: The Art of Making Buildings at the Royal Academy of Arts – 15th September 2018 to 20th January 2019

In autumn 2018, the Royal Academy of Arts will present an exhibition of the internationally-renowned architect and Honorary Royal Academician Renzo Piano. This will be the first comprehensive survey of Piano’s career to be held in London since 1989, and will be presented in the new Gabrielle Jungels-Winkler Galleries in Burlington Gardens, on the occasion of the 250th anniversary of the Royal Academy.

Renzo Piano Building Workshop,
The Shard, London Bridge Tower and London Bridge Place, London, 2012.
© RPBW. Photography: William Matthews.

Renzo Piano  is one of the world’s leading architects and his buildings have enriched cities and spaces across the globe. From designing the Centre Pompidou in Paris as a young architect with Richard Rogers, to projects including The Shard in London and the new Whitney Museum of American Art in New York, Piano’s work continues to pioneer ground-breaking architecture that touches the human spirit. In 1981 the architect founded the Renzo Piano Building Workshop (RPBW), located in Paris, Genoa and New York, which, with a team of 150 staff, has realised over 100 projects that include large cultural and institutional buildings, housing and offices, as well as urban plans for entire city districts.

Born into a family of Italian builders, Piano places great importance on the crafting of elegant structures that embody a sense of lightness. Designing buildings “piece by piece”, Piano’s practice makes deft use of form, material and engineering to achieve a precise yet poetic elegance. He has a command of the entire process, from the structural systems to individual building components, designed for optimum technical performance as well as aesthetic and haptic qualities. Such is the importance of these aspects of the architecture, that full-scale mock-ups of sections of the buildings are created during the design process to test how they will look and feel, from the composition as a whole, to smaller technical details.

Renzo Piano Building Workshop,
Jean-Marie Tjibaou Cultural Centre, Nouméa, 1998.
© RPBW. Photography: Sergio Grazia / ADCK – centre culturel Tjibaou.

Renzo Piano: The Art of Making Buildings will offer an overview of the architect’s practice through sixteen of his most significant projects, dating from his early career when he was experimenting with innovative structural systems, to the signature buildings of the present day. Highlights include Centre Pompidou, Paris (1971), Jean-Marie Tjibaou Cultural Centre, Nouméa (1998), The New York Times Building (2007), The Shard, London (2012), Jérôme Seydoux Pathé Foundation, Paris (2014) and Whitney Museum of American Art, New York (2015).

Rarely seen archival material, models, photographs and drawings will reveal the process behind the conception and realisation of Piano’s best known buildings. For example, on display will be one of the original models made during the design process for the Menil Collection in Houston (1986), showing how Piano and his team rigorously explored creative ways to bring natural light into the galleries, creating spaces that would be ideal for viewing art. Other highlights will include the white ceramic rods from the 1:1 mock-up of The New York Times Building, produced to test their scale, surface and reflectivity, as well as the original competition drawings for the Jean-Marie Tjibaou Cultural Centre in Noumea that captivated the jury.

At the heart of the exhibition, there will be a focus on the architect himself through 32 photographs by Gianni Berengo Gardin and a specially commissioned film by Thomas Riedelsheimer highlighting Piano’s personal sensibilities and attitude to architecture  The centrepiece of this space will be a sculptural installation designed by RPBW especially for the exhibition, bringing together 100 of Piano’s projects on an imaginary island.

The exhibition will provide an exceptional insight into the work, aspirations and achievements of a man who believes passionately in the possibilities of architecture. It will demonstrate that far from being a straightforward art-form, architecture is a complex profession that carries social, political and financial responsibilities.

For more information and tickets, visit the Royal Academy website here

London Visitors is the official blog for the Visiting London Guide .com website. The website was developed to bring practical advice and latest up to date news and reviews of events in London.
Since our launch in January 2014, we have attracted thousands of readers each month, the site is constantly updated.
We have sections on Museums and Art Galleries, Transport, Food and Drink, Places to Stay, Security, Music, Sport, Books and many more.
There are also hundreds of links to interesting articles on our blog.
To find out more visit the website
here