Latest news with #Whitechapel
The Guardian
2 days ago
- Entertainment
- The Guardian
Hamad Butt: Apprehensions review – beauty and violence from a lost and dangerous YBA
Flies crawl about in a triptych of glass-fronted cabinets, while in another installation you gradually realise the fragile bottles you're looking at are full of poisonous gas, lethal to humans. Does this remind you of anyone? Hamad Butt is the Damien Hirst who got away, the Young British Artist of the 1990s who didn't win the Turner prize, make millions or lose his youthful talent and turn into a bloated mediocrity. Now he is a cult figure precisely because he is none of those things and can instead be presented as if he was a complete unknown, whose art expresses his queer Pakistani identity rather than being part of a fin-de-siecle art movement of sensation and creepy science. I couldn't find any reference, even in the moving array of Butt's working documents on show, to the fact he studied at Goldsmiths alongside Hirst, Collishaw, Wearing and more. If we need to detach this brilliant artist from that generation to celebrate him, it's better than forgetting his work. But as soon as you walk into this convincing retrospective you're back in 1992. Occupying the whole of the Whitechapel's main ground floor gallery is Butt's three-part installation Familiars. Like a giant executive toy, spherical glass vessels are suspended from the ceiling by thin threads in a long row. Pull the first one back, as it is weirdly tempting to do, and you'd set them going by action and reaction. Except it would surely shatter these vessels and kill you, or at least make you very ill. The coloured gas inside each sphere is mustard-coloured, as in mustard gas. This is gaseous chlorine, first used as a chemical weapon by Germany in 1915 and in these static, sealed bottles it looks lovely, golden, glowing in the gallery lights. It's disturbing but, let's be honest, darkly thrilling to be only a thin glass wall away from a first world war soldier's death here in an art gallery. To put it another way it's sublime. One of the sculptures in this installation is actually entitled Substance Sublimation Unit, a play on chemistry and aesthetics. The other two elements of this epic sculpture look equally hazardous: a ladder with rungs that light up with blazing gas like a stairway to hell, and three curving, blood-red glowing spikes. To feel such beauty and violence in a gallery may strike you as shockingly new or oddly nostalgic. In the archives room there's a 1995 Jak cartoon from the Evening Standard, depicting a dodgy geezer selling gas masks outside the Tate – a reference to a leak from this installation when it was in a show called Rites of Passage, alongside Louise Bourgeois. Hamad Butt was not alive to laugh at Jak's cartoon. He died in September 1994, at the age of 32, from Aids-related complications. In a video interview, lying on a sofa at his family home in Ilford, he's still talking vividly about his future projects, months before his death. What a compelling presence he is, how deeply intelligent and imaginative. His gripping art makes you aware of how quickly and suddenly you can stray from civilised normality to mortal danger. His installation Transmission glows with gorgeous, if clinical, blue light – but look for too long, or without the protective glasses you are offered, at its ultra-violet bulbs and you risk damaging your eyesight. The bulbs rest on a circle of opened books made of glass, on which the monstrous people-eating, world-conquering flora from John Wyndham's novel The Day of the Triffids are engraved. In another classic trope of Young British Art, that of appropriation, his design of a Triffid, with its fat vegetable body, long sucker and libidinous tongue, is borrowed wholesale from the cover of the original Penguin paperback of The Day of the Triffids. Sign up to Art Weekly Your weekly art world round-up, sketching out all the biggest stories, scandals and exhibitions after newsletter promotion The labels prompt you to see Hamad Butt's art in relation to his tragic early death, so Transmission is about the Aids epidemic, and his Triffids – which also feature in a hilarious animated video – are images of the HIV crisis. However, in the video interview, he says 'transmission' refers in the first place to the transmission of light. He clearly did not want his art to be understood only one way. Today figurative painting is back in fashion, so this exhibition includes Butt's early canvases before he turned conceptual. On the sofa on screen he explains he had to stop because he was too in thrall to Picasso and Matisse. You can see Picasso's shadow over his paintings of sensual Minotaur-like men. This exhibition risks removing him from his wider context, but it can't go very wrong with such art. It's right to include his paintings, drawings and archives because we possess so little of such magnificent promise. Hamad Butt died so long before his time, yet his work is a living thrill. He is the Young British Artist who is for ever young, for ever lethal. Hamad Butt: Apprehensions is at Whitechapel Art Gallery, London, from 4 June to 7 September
The Guardian
5 days ago
- Entertainment
- The Guardian
John Chillingworth obituary
The documentary photographer John Chillingworth, who has died aged 97, was one of the stable of famous photographic names who worked for the pioneering weekly magazine Picture Post in the 1940s and 50s. Picture Post's unique characteristic was that it was accessible to all, but did not patronise the ordinary people whose lives were reflected in its pages. The magazine documented the postwar social change that resulted from the Beveridge report of 1942. Among other examples, Chillingworth contributed images of a social worker in Nelson, Lancashire, in 1954, showing her engaged in the delicate task of combing out the newly washed hair of an elderly woman seated at the kitchen table. As if in contrast, he followed up with a feature on elegant fashion models in Paris and London. A picture of the Leigh rugby player 'Nebby' Cleworth at work as a labourer on a weekday between games celebrated the dignity of labour rather than the glamour of winning a match. Chillingworth delighted in a sense of place and character, encountering the specific in the general, and local identity in a capital city. He developed a naturalistic style, and was able to pass unnoticed on assignment. Elements of the past often entered his photo stories, however contemporary. Jewish Whitechapel (1952) shows a news agency, its windows boarded and broken and an ad for the Jewish Evening News painted on the frontage, too high to deface. Nearby is a Jewish tailor's shop beside a large advert for a local theatre company, its text in Hebrew, offering the real sense of a distinct London community. Although he worked at Picture Post for only a short time – around nine years, on and off – it was an important period for Chillingworth. During the 1990s, when he regularly visited the Centre for Journalism Studies at Cardiff University, where I was working at the time, his conversation remained very much focused on his time at Picture Post and its 'family' of photojournalists. Born in the working-class district of Upper Holloway, north London, Chillingworth shared and understood the background of many of his subjects. His father, John, was an official with the National Union of Journalists. His mother, Georgina (nee Winterbourn, and known as 'Mabs'), was a housewife. The eldest of four children, John attended St Mary's Church of England primary school in Hornsey, then St David and St Catherine's secondary, which he left, like many of his peers, aged 15. Although he scarcely knew what the job would involve, he signed up soon afterwards as Picture Post's tea maker. On finding the darkroom more interesting than the office kitchen, he began spending his spare time learning and assimilating all he could. Picture Post photographers generally brought their camera films to be developed in the office. Alongside and observing the likes of Bill Brandt, Thurston Hopkins, Merlyn Severn and Bert Hardy, and a growing influx of émigré photographers including Gerti Deutsch, Felix Man (Baumann) and Kurt Hutton (Hübschmann), Chillingworth was an eager and adept tutee. Hutton in particular took Chillingworth under his wing, encouraging him to experiment with a camera, and remaining a lasting friend and mentor. Through Hutton, Chillingworth acquired the skill of passing unobserved in a crowd. Like him, he transitioned to becoming a staffer rather than an occasional contributor. According to the author and publisher Dewi Lewis in his monograph John Chillingworth: Picture Post Photographer (2013): 'He was soon producing a vast range of photo stories of a very high quality. Encouraged by Picture Post's legendary editor Tom Hopkinson, Chillingworth learned to combine 'storytelling' images with the written word, and worked with some of the finest magazine journalists of the age. Having been too young to serve during the second world war, in 1946 he undertook national service with the Royal Engineers, returning to Picture Post's office in Holborn in 1949. He left only a year before its demise in 1957. A picture taken of Chillingworth by Dan Farson on a beach in 1956 shows him clad only in shorts under a burning sun. All Chillingworth is wearing above the waist are a pair of cameras: a Leica strung around his neck and a Rolleiflex around his midriff. It is a fine example of Hutton's advice taken to heart: a high-speed Leica for shots taken of moving or changing subjects; a weightier Rollei to capture a portrait, pose or perspective taken with careful preparation. In 1989 a selection of Chillingworth's work was exhibited in 150 Years of Photography at the National Science and Media Museum in Bradford. In the same year he was made an honorary fellow of the Royal Photographic Society, described as 'one of the makers of photographic history'. He is survived by his third wife, Ros (nee Taylor), whom he married in 1987, four children from two earlier marriages, and his sister, Ann. John Chillingworth, photographer, born 18 January 1928; died 6 April 2025
Hospitality Net
27-05-2025
- Business
- Hospitality Net
Adagio Original London City East: Europe's Leading Aparthotel Brand Opens Innovative Flagship in the Heart of London
The Adagio Original London City East has just opened its doors, becoming Adagio's ninth establishment in the UK and the fourth in London for Europe's leading aparthotel brand. This new site stands out for its exceptional location, sleek modern design enhanced by exclusive artwork from a local artist, as well as several innovations, such as a new apartment furnishing concept and five coliving apartments. Offering the highest standards in hospitality, this new flagship features 132 studios and apartments, accommodating 1 to 8 guests. An ideal location, right in the heart of London Located right in the heart of London, just steps from the City and only a 5-minute walk from Aldgate East or Whitechapel tube stations, the Adagio Original London City East is perfectly situated for both business travellers and holiday makers exploring the British capital. Visitors will be able to enjoy the vibrant and multicultural atmosphere of Whitechapel, whilst also being just a ten-minute walk away from iconic landmarks such as the Tower of London, Tower Bridge, Brick Lane, and Old Spitalfields Market,. Innovative and modern, with a distinctly urban flair The Adagio Original London City East is located in a new building, with a striking design inspired by local culture, blending traditional red bricks with a clean and elegant aesthetic. The 132 studios and apartments showcase the new Adagio Original apartment concept, 'The Smart House', which offers guests the highest level of comfort. With open-plan spaces, warm hues, and multifunctional furniture, each apartment becomes a modern sanctuary - both calming and inspiring - quickly making guests feel right at home. The first introduction of 'Coliving by Adagio' in London Another distinctive feature of this new aparthotel is the inclusion of five 'Coliving by Adagio' suites. This concept has been specifically designed to accommodate groups, whether they are travelling for work, family trips, or holidays with friends. Designed to feel like a real apartment, each co-living suite consists of four independent studios, each equipped with its own bathroom and toilet, arranged around shared spaces, a fully equipped open kitchen for down time, and a welcoming shared living room. These fully furnished spaces are ideal for longer stays, thoughtfully designed to provide maximum comfort. Decor enhanced by local artwork In celebration of Whitechapel's vibrant visual and cultural spirit, the Adagio Original London City East has commissioned local artist, The Line Girl, to enhance its decor. Known for her distinctive graphic universe piece composed of black and white lines, the artist created an in- situ artwork that winds through the spaces: a large mural unfolding from the lobby to the lift and along the corridors on each floor. Her artwork travels through the hotel, creating an immersive visual journey for guests, transforming the space into a living canvas. Deeply connected to the neighbourhood, The Line Girl captures the culture and spirit of Whitechapel, whilst also creating subtle and encompassing art for guests to inhabit and admire. By integrating unique artworks into its spaces, Adagio enriches the guest experience, placing art at the heart of every stay. This approach, embraced by all new Adagio Original properties, champions an inclusive view of art: accessible, inspiring, and emotionally engaging. Hotel website
The Independent
20-05-2025
- Business
- The Independent
Should Greggs put security tags on its sausage rolls?
The wildly successful high-street bakery Greggs – whose Steak Bakes are a national institution, and whose new Mac & Cheese has already become a TikTok sensation – has finally had its fill of petty thieving. Having become known as something of a shoplifters paradise, it is to crack down on the snatch-and-grab pilferers. Such has been the increase in shoplifting throughout its 2,600-plus stores that head office has decreed that some of its on-the-go sandwich ranges are to be moved from self-serve fridges and into glass-screened units behind the counter. In order to get a ham baguette on some shops, customers will have to ask a server. Five stores located in 'shoplifting hotspots' – which include Whitechapel, in east London – will trial the new shop format, to see if it has a meaningful impact on what the company describes as 'anti-social behaviour', but which others might prefer to call 'criminal activity'. It's a small start, but I wouldn't be surprised to see it extended throughout the chain – and even to other food retailers. Shoplifting has become one of Britain's growth industries. According to the latest British Retail Consortium (BRC) annual crime survey, there were more than 20m incidents of theft in 2024, up from 16m in the previous year's edition. And sometimes it seems everybody's doing it. Earlier this month, security experts reported a massive increase in thefts by pensioners, estimated that 5 per cent of all those caught shoplifting by staff on a weekly basis were aged over 50. Even a cursory glance at the numerous video clips posted by law-abiding Greggs customers on social media hint at the scale of the problem: construction workers in hi-viz with their sandwich meal-deals, blithely walking out without paying, gangs of teenagers making off with arm-fulls of sandwiches. One of the problems cited by retailers is that thefts from food stores such as Greggs are low-risk and low-impact (on the thief). Prevention measures, such as theft-proofed store layouts security tagging and other such measures, will clearly help. But changing that also requires that the police take the issue seriously – not easy, when the Anti-Social Behaviour, Crime and Policing Act itself classifies circumstances where the value of stolen goods does not exceed £200 as 'low-value shoplifting' and thus of far less interest to the authorities. In the same way staff on the London Underground are advised by managers not to physically stop or detain fare-dodgers, shop workers are dissuaded from preventing thefts from happening over fear of reprisals and the bodily harm they may incur from stepping in. That said, one Greggs outlet in south London saw thefts reduce when its soft drinks cabinet was secured with a bike lock. Stealing sandwiches is far from a victimless crime. In fact, the chief victims of lunch thieving are Britain's poor. Retail is a low-margin business. To mitigate against the scale of the thieving at Greggs, prices are now going up accordingly – in what has inevitably been dubbed a new 'pasty tax'. Those who would benefit most from lower prices are those on low to modest incomes, for whom the food bill and other essentials eat up a disproportionate amount of the household budget. Shoplifting is less a crime of the poor than it is a pox on them. It is yet more evidence of 'broken Britain'. Correct me if I'm wrong, but wasn't reducing anti-social behaviour was one of the 'six key promises' on which Keir Starmer set out his stall during the election campaign? If Labour's priorities are social justice (don't laugh) and helping 'working people' (whatever that means), it should act to keep down the price of a Greggs pasty.
The Independent
19-05-2025
- Business
- The Independent
Greggs makes major change to stores in shoplifting hotspots
Greggs is removing its self-serve fridges and instead placing sandwiches behind the counter in an attempt to combat shoplifting. The bakery chain, which has more than 2,600 shops across the UK, has launched the new trial in at least five stores, including one in Whitechapel, east London. The new policy will mean customers will now be unable to pick up refrigerated sandwiches and drinks themselves and will instead need to ask a shop assistant to hand over what they would like from behind the counter. It is understood this small trial is only being introduced in stores which are exposed to higher levels of shoplifting, and there are currently no plans to introduce this new format to all stores across the country. A spokesperson for Greggs said: 'This is one of a number of initiatives we are trialling across a handful of shops which are exposed to higher levels of anti-social behaviour. 'Customers can expect to see our full range of great value and tasty Greggs favourites available from behind the counter. 'The safety of our colleagues and customers remains our number one priority.' In its latest trading report, Greggs said it made a pre-tax profit of £203.9 million in 2024, 8.3 per cent higher than in 2023, as it launched new shops, extended its opening hours and raised prices. The bakery chain said in March many customers were continuing to worry about the cost of living, including energy prices, mortgage and rent costs. The chain raised the prices of some of its food items last year – most recently, the national price of its traditional sausage roll increased by 5p to £1.30, while other items such as coffee and doughnuts also rose by between 5p and 10p. It comes as the number of shoplifting offences recorded by police in England and Wales in a year surpassed half a million for the first time on record, according to the latest figures from the Office for National Statistics (ONS). Police recorded 516,971 shoplifting offences in 2024, a 20 per cent increase on the 429,873 offences in 2023 and the highest number recorded since modern record-keeping practices began in 2003. The ONS said shoplifting offences have been running at record levels for the past two years, noting a "sharp rise" following the Covid-19 pandemic. Retailers across the country are implementing new strategies in a crackdown on shoplifting. Most recently, supermarket giant Sainsbury's introduced 'VAR-style' cameras at self-checkouts, with customers being shown a replay if they do not scan items correctly.
