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Friday, 25 July 2014

Disobedient Objects @ V&A, SW7 – opens 26 July 2014 – 1 February 2015 - FREE

Inflatable cobblestone, action of Eclectic Electric Collective

On the 15 February 2003, by a biting cold, we were 2 million people marching with banners to Hyde Park and gather around Kate Moss, Alexander McQueen etc to tell Tony BlairDon’t Attack Iraq”. The media coverage was huge (see previous post below). On 26 February 2014, a tiny crowd gathered around the #HomesNotJail banner to protest against the victimisation made by the Cameron government (see post below). It is a great sensation to be part of something one feels worth fighting but a great frustration when it leads to nowhere.

The V&A’s press office is most probably the only big institution that reads my blog and knows what will interest me. Following my post on #HomesNotJail, they sent me the Disobedient Object Press Release which I immediately posted onto my Facebook wall. So, yesterday was the big day for press people to peep inside the Porter Gallery.

Freedom thanks to un-glamorised disobedience
The Disobedient Object exhibition is mainly focused on the late 70’s up to today, although it seems there are more worldwide objects from the very recent years.
Nevertheless, the room opens its “curtains” with “First they ignore you. Then, they ridicule you. And then, they attack you and want to burn you. And then, they build monuments to you” – Nicholas Klein, address to the Almagamated Clothing Workers of America – 1914.
“Many of the rights and freedoms we enjoy today were won by disobedience. Activist’s social movements have changed our world from the grassroots up, popularising new ideas and values. The objects made as part of these movements have played a key role in those cultural and political changes.”

Bone china with transfers printed in green, 
bearing the emblem of the Women's Social and Political Union - 
Photo © Victoria and Albert Musem, London

The first two objects on display are a 1910 tea cup (the only one belonging to the V&A collection – all other objects have been lent by activists worldwide) from the Women’s Social & Political Union (WSPU) for their campaigning on their right to vote – the angel trumpeter logo was designed by Sylvie Pankhurst; the other one is a saucepan from Buenos Aires in 2001 as Argentina government froze bank accounts of 18 million citizens, who in return took the streets and banged their kitchen tools.

Unless it is a rare cutting edge technology object, most objects on display are referred as “cheap art”. An instant think cap is needed to react and cheap or discarded objects are used to vulgarise against the sanctity of affluent society economy in order to ridicule those in power. There is no protest aesthetic or glamour. Activist makers react quickly and work with any media available.

Solidarity via symbols
“You can’t change the world on your own. Solidarity means sticking together”. I wonder how true it is today as governments (or event art institutions) are targeting the most vulnerable people and isolate them even more: homeless people; unemployed single parent, and so on who have no one to turn to and can’t gather a crowd. How do you reach out homeless people if they don’t have a mobile phone or access to internet when laws are made to criminalise them if they sit or sleep in some London borough’ streets... nobody will lift an eyebrow because no big noise is made about it. And the absence of media coverage means an “ignorant” public.
But “if you come only to help, you can go back home. But if you consider my struggle as part of your struggle for survival, then maybe we can work together” - Aboriginal Activists Group, 1970. Sometimes, objects, because of their symbol, create solidarity. When Polish people demonstrated in Poland to end state of communism, they wore a “Solidarność” badge in the 80’s. The badge shown in the exhibition reminded me of some people I had seen in France wearing it in those years; Students in Canada in 2012 who wore a red square to protest against the rise of fees; or the importance of social media, notably for the Egypt demonstration, that reached the Western world rapidly from a placard posted on Facebook. There are also the “reverse” symbols used to unite as the Pink triangle marked out those who were gays in Nazi concentration camps. The “Silence = Death” logo inverted this symbol for gay community to unite and fight homophobia and inaction during AIDS crisis. Avram Finkelstein designed and wore these T. Shirts when in this side of the pond Derek Jarman shot Last of England (1987) to raise a consciousness on AIDS due to Thatcher government impotence on the issue.

Dolls of the Zapatista Revolution, The Zapatista, Mexico - 
Photo © Victoria and Albert Musem, London

From division to multiplication
Audre Lorde’s quote from Learning From The 60’s, 1982, “There is no such thing as a single issue struggle because we don’t live single-issue struggle lives. Our struggles are particular, but we are not alone.” somehow resonates to what Stuart Hall called ironically ‘the most profound thing Thatcher said’ and semi quoting her “There is no such thing as society; there are only individual men and women...” Opening the room with great humour – to be disobedient also allows you to be funny – with the BLO movement: Barbie Liberation Organisation. In 1993 in the US, the BLO people exchanged the voice boxes of Barbies and GI Joes... the video demonstrates why and how they changed the technical devices... changing also the voice of a News reporter who warns seriously against this act of terrorism! While on the wall, a worldwide compilation of demonstration and their disobedient objects “catwalk” the wide screen: Chile, 1989; New York, 2012; USA, 1998; Palestine, 2000; London, 1986; South Africa; Rome, 2010; China, 1989; India, 2014, etc. Speakers explain that social media have a greater impact nowadays to reach quickly the world than signing petitions, without undermining either of them. On another video, a speaker also explains that you have to know what object to use according to the country you live in. It has to accommodate to the law as not to suffer its consequences.
There are also the silent or “innocent” struggles. During Pinochet time in Chile, women were sewing appliqué textiles, known as “Arpilleras”. By this mean, they documented the violence and hardship the population suffered under dictatorship when its authorities thought of their arpilleras as folk-art. Selling these arpilleras worldwide via a discrete network, they not only generated income and gained strength but also inspired lots of countries around the world, Colombia, Ireland, Iran, as a way to survive and resist.
Across the room, other women gathered together to challenge the sexism of the art world in which you can read the hilarious, but serious letter from Luca Cristiani, art critic and journalist, Florence, Italy, 1988: “Dear group of communists, you are the strongest bunch of bitches gained together I’ve ever seen in world of art... Answer if you have the courage, bunch of bitches!!” The long letter is juxtaposed to a Guerrilla Girls 1985 ad-poster questioning the world of art with 4% of women representing it against the world of nudes represented by 76% of women. I am not sure if that first figure has much increased since, but surely the number of men slagging off (rightly or not) female artists (like Marina Abramović) on Facebook is certainly disturbing. Surely, “Abramović males” outnumber Marina herself!

Installation Image, Tiki Love Truck 
(c) Victoria and Albert Museum, London

Con to icons
As I entered the Porter Gallery, I picked up “the scent” of someone I knew and spotted him straight away. Although, I didn’t recognise him physically, I understood his body movements. As the curators speech started, I was far away and didn’t make it near them to be able to hear. So, I opted to look at the Tiki Love Truck video. Carrie Reichardt is an artist-activist who corresponded with John Joe ‘Ash’ Amador who was on a death row in Texas. When he was executed, she flew there with Nick Reynolds who cast his face once ‘Ash’s body was recovered by his wife. I took a good look to the guy I spotted and he was indeed Nick himself standing next to Carrie by their Tiki Love Truck. We spoke absinth @ Tardis, his father Bruce, Alabama 3 (playing 8 Aug in London), his Con to Icons book he gave me at the opening (see post June 2014). In the video Carrie says it was a very intense moment of emotion, but they had to turn it into a positive prospect. So ‘Ash’ face honours the truck and is also an emblem to fight death penalty.

Direct Action
When you pick up the free A4 flyers, you will learn how to make your own object of resistance. One of them is a “Lock-on”. You chain and padlock your arm inside an iron tube that links you to your fellow activist to protect a tree or anything else. As an activist remembers on the video “Always remember where you put your padlock key...” As it might become quite uncomfortable. However, any new tricks have to be constantly re-thought as police always have the tools to “break-in”. Because of its “free” space between two arms in the “lock-on” tube, police have now detectors to identify where they can cut the tube without cutting people’s arms. So, activists have to put chicken flesh or anything to cheat detectors...
Among the numerous objects in display are pamphlets, defaced currency (with an interactive button and a tribute to Aung San Suu Kyi), banners, rice bag T.Shirts, street signs, tear gas masks, etc. You might also want to pop in the Shakespeare exhibition upstairs and see some protest or music (Sex Pistols) posters.

Chilean Arpilleras wall hanging: Dónde están nuestros hijos, 
Chile Roberta Bacic's collection - 
Photo © Martin Melaugh

A flash on the map
“We might think of the 60’s as a golden age of protest...” but the map of “Every protest in the world since 1979” shows differently. So, I stared at the map of France. It didn’t stop flashing from 1980 until today while the rest of the world also flashed. But to my great surprise, the flashing increased worldwide almost as if today, the world is in constant protest.

I am not actually sure what determines a protest and how effective protests with their disobedient objects are. Is it according to a number of people attending a demonstration? Is it when the media bothers their journalists to cover an issue? Do I really know the outcome of a specific protest? When Tony Blair declared on 15 February 2013 that he won’t be impressed by a number in the streets and will carry on his “duty”, it does make wonder... When governments target the most vulnerable people and the media chose to ignore an issue, then I suppose the media are backing up that government.

When hundreds of people protest outside the Israeli Embassy in London to stop occupying Palestine, I wonder naively if our embassies should rather stop occupying a territory that occupies a territory... but that would cut down far too many jobs...
Does the amount of protests around the world, mostly thanks to Social media, banalise a protest? Out of individualism, don’t we blank most of them? I have become quite sceptical about the way people protest today, but more than anything I am worried about the increasing number of people (or self proclaimed intellectual artists) who are calling for “No war” on social media in regard of the Israel issue, when their message is quite often an indirect call to racism. The amalgam is easy! We shouldn’t forget the history of genocides inducted by ignorant people who manipulated masses’ minds, especially in recession times.

One thing I am sure about is that the V&A as an institution and as an international venue did not have to hold such exhibition. Disobedience triggers negative feelings, especially in Western societies where everything has become so polite, formatted and “mummified”. Curators Catherine Flood and Gavin Grindon have had the courage to implant some rooms with a view on disobedience objects and gathered these objects from around the world. Of course I am tempted to scream the struggle must go on! But we must be vigilant as not to embark into a downward spiral that triggers hatred towards innocent people as well as being aware some people are simply money takers under their communism “banner”. So, get inspired, take a peep... and get up, stand up... stand up for your rights... don’t give up the fight... Bob Marley.

Guerrilla Girls
Installation Image, Disobedient Objects, 
(c) Victoria and Albert Museum, London

If you are noise sensitive, get your ear plugs in, all videos are subtitled and as usual with the V&A, it is of great appreciation for those with hearing impairment.


Later on, as I visited an art space around Oxford Circus, I bumped into a small number of Locked-on activists outside Benetton shop (see Benetton Victims link below) – I have had friends working for Benetton: “On April 24th 2013 a factory collapsed in Dhaka, Bangladesh, in one of the worst industrial disasters in history. 1,129 people died and 2515 were injured. Benetton clothes were found in the rubble, but they are refusing to contribute to the compensation fund for the families of the dead, and the injured survivors - United with Victims of Benetton is calling on Benetton to #payup. Token donations won’t do, micro loans and ‘skills training’ add insult to injury. We will continue to hold Benetton to account until they pay real compensation to the Rana Plaza Donors Trust Fund.”

V&A, Cromwell Road, London SW7 2RL
Opening times: 10.00 to 17.45 daily; 10.00 to 22.00 Fridays
Disobedient objects is a FREE exhibition in Porter Gallery from 26 July to 1 February
#DisobedientObjects
@V_and_A



Next week, I will post on blog struggle... what might be my last post!

Wednesday, 23 July 2014

Charulata (The Lonely Wife), directed by Satyajit Ray. A BFI release. Opening 22 August @ BFI Southbank and selected cinemas.


CHARULATA (THE LONELY WIFE)
Directed by Satyajit Ray
Cast: Madhabi Mukherjee, Soumitra Chatterjee, Sailen Mukherjee
India 1964,
117 mins,
Cert U
  
New 50th anniversary restoration
A BFI release

I was a Punk-ish rebel in a French lycée when I read Gustave Flaubert’s Madame Bovary. Of course, it would have been quite unlikely for me to like Flaubert when I loved Baudelaire. But, for some reasons, I decided they were quite likewise. Madame Bovary or the master tale about ennui by excellence.



Each time I have watched Satyajit Ray’s Charulata (The Lonely Wife), I remember Madame Bovary. Yet Charulata is adapted from a 1901 novella, Nastanirh (The Broken Nest) by the great Bengali writer Rabindranath Tagore.
Filmed 50 years ago, Ray highlights Madhabi Mukherjee who plays Charulata: beautiful, intellectual, bourgeoise but highly bored. Her husband Bhupati (Sailen Mukherjee) is the editor of a political journal and dedicates very little time to his wife. Realising his wife’s love for literature and her ennui, Bhupati calls his 22 year old cousin Amal (Soumitra Chatterjee) to join the household and entertain his wife.

The camera never leaves the household, “incarcerating” its characters in a huis-clos despite some scenes shot in the garden between Charulata and Amal. A ferociously sensual but platonic love takes place between the two protagonists playing with words and eyes touch.





While Charulata emancipates her writing, she also plunges in deep despair when Amal leaves the household. As for Bhupati, not only doesn’t he notice the birth of a passion that is weaving in his absence but he is also far too absorbed with work to even notice his assistant safe robbery.

When the mind’s tide calm the couple of their respective loss, Charulata’s strength is quite surprising when she confidently suggest her husband they could start the magazine afresh and she would take care of the literary side. Later, a letter from Amal will arrive jeopardising the suppressed emotions in which Charulata has to battle silently...








I Got You In My Camera - Punk 1976-1979 – Q&A @ 7pm with Sheila Rock, Glen Matlock and Mark Perry on 24 July – exhibition until 3 Aug @ Olympus Rockarchive Image Space Gallery, EC2M. Exhibition is FREE apart from Q&A = £10/£15

Sex Pistols
© Ray Stevenson

You don’t write a song like “God Save The Queen” because you hate the English race. You do it because you love them and you are fed up with them being mistreated John Lydon aka Johnny Rotten, Sex Pistols.

Following my post on Louise Maisons (see link below), Jill Furmanovsky invited Louise to participate to the next Rockarchive exhibition: I Got You In My Camera - Punk 1976-1979. The exhibition opened on 3 July and is curated by the Rockarchive and legendary author and punk aficionado Jon Savage (England’s Dreaming). I made my way to Liverpool Street last Friday.
Louise prints of Siouxsie in Paris and Johnny Thunders @ Le Gibus are the only ones hand printed. Small (A4) prints but outstanding! I had seen Siouxsie’s picture in Louise’s maisonette some decades ago and it still blows me. It vibrates. It is her first London / UK exhibition.

Sniffin Glue Mag with Mark P 1977 
© Jill Furmanovsky

Otherwise, the wide scale prints of The Clash, Sex Pistols, Debbie Harry, Siouxsie, Billy Idol, and the list goes on, is quite invigorating. I had seen some of the pictures before, but others like Billy Idol holding a cat I had not. Knowing how Billy was (and still is) wild, I can only imagine him eating it. The other great surprise was to see the name of Adrian Boot. His name had vanished from my memory card and I had to stand for longer to re-admire his eye-touch. I know quite well (pretentious me!) Jill Furmanovsky work as I have seen other exhibitions and I have had her book The Moment for over 20 years now, so I was happy to see her work again, or as a matter of fact, I was also happy to see Roberta Bayley, Richard Mann, Bob Gruen, Ray Stevenson and Sheila Rock.

The great news is that the exhibition is extended to the 3 August and London will be blessed with A special Q&A and guided tour of the exhibition with:
Sheila Rock – photographer and author of Punk+ photo book
Glen MatlockSex Pistol and author of Sex Pistols Filthy Lucre Photofile
Mark Perry (aka Mark P) – founder of Sniffin’ Glue Magazine and band ATV (Alternative TV)

Thursday 24th July @ 7pm
I Got You In My Camera - Punk 1976-1979
Olympus-Rockarchive Image Space Gallery
199 Bishopsgate (entrance on Primrose Street), Broadgate,
London EC2M 3TY
Tickets £10 adv / £15 on door including a drink and raffle ticket (with a chance to win a Rockarchive print). To RSVP, email rsvp@rockarchive.com with subject line Punk.



I Got You In My Camera - Punk 1976-1979 - Until Sun 3 Aug 2014 @ Olympus Rockarchive Image Space Gallery, 199 Bishopsgate (entrance on Primrose Street), Broadgate, London EC2M 3TY
The gallery will be open daily from 10.30 to 18.30 (Tues – Sat) and 12.00 to 17.00 (Sundays).
Visit for more info www.rockarchive.com


To connect =


Tuesday, 22 July 2014

London Life, a photography exhibition by Colin O’Brien at Hackney Museum, E8. Until 6 September. FREE

Strolling in the City, 1956
© Colin O’Brien

Last week, I popped in at Hackney Museum and was quite amazed by the photos I was staring. For over 60 years, Colin O’Brien has witnessed London from all its corners and captured a social movement. His pictures are not like those of Robert Doisneau documenting Paris from all its corners, politely... Colin O’Brien doesn’t stage his “sitters”, doesn’t “glamorise” them if “posing”, he simply shoots them as they are.
In 1956, his loving couple in Strolling in the City is a complete antidote of 1950 Robert Doisneau’ The Kiss by the Town Hall. His picture is more humble while including the city/town all around his subjects.

Black lady in Summer Dress Chatsworth Road
© Colin O’Brien

Looking at Colin’s work, I not only jumped back in time, in the history of London but also saw the very place where I live now, Hackney. Chatsworth Road then and Chatsworth Road today seem to be centuries apart when the Griffin Pub seems to have had the same punters over the decades, only that its crowd is keeping young and a rhinoceros has been printed on its outside wall... thinking it’s a unicorn. Travellers, workers, accidents, children and so on have been Colin O’Brien’ “actors” in the big theatre that is London.

Travellers' Child London Fields Hackney 1987
© Colin O’Brien


Colin O'Brien was born in Clerkenwell and he has lived in Hackney since 1984. He has been photographing London continuously since 1948, when his spellbinding pictures evoked the poetry and pathos of the threadbare years in the aftermath of the Second World War. His work is distinguished by its human sympathy and aesthetic flair and it stands up to comparison with any of the masters of twentieth century British photography.

Taking unforgettable images of Hackney and surrounding areas, he has documented a changing city for more than six decades. Colin O'Brien has created a vast photographic archive. Today his photography reaches a global audience through the Spitalfields Life blog. He continues to use film alongside his digital work and still develops and prints the images in his darkroom.

Last day of smoking The Griffin pub Shoreditch 
© Colin O’Brien

Colin O’Brien has created a photography library with a vast number of negatives. He continues to take his photographs using film and processing in a dark room.

Cllr Jonathan McShane, Cabinet Member for Health, Social Care and Culture said; “Supporting local people to capture history and social change is exactly what a museum like Hackney Museum should do. His work spans sixty years and really highlights the changes in Hackney and how the borough has become one of the most diverse and colourful places in London.

Colin O’Brien said: “This gem of a museum consistently displays exhibitions and events that are of the very highest standard. I am excited by the prospect of showing my work at Hackney Museum and look forward to what I hope will be an exciting, engaging and stimulating exhibition.

LONDON LIFE:
Photographs by Colin O'Brien
Until 6 September

Hackney Museum, Ground Floor, Technology And Learning Centre, 1 Reading Lane, E8 1GQ

Museum opening hours:
Tues, Weds, Fri: 9.30am – 5.30pm
Thurs: 9.30am – 8pm
Sat: 10am – 5pm
Closed: Sun, Mon, Public holidays
Free Admission

Colin O’Brien website: http://www.colinobrien.co.uk/




Blackwood, a film by Adam Wimpenny. Film opens 1 August. Across UK


Directed by Adam Wimpenny
Written by J.S. Hill
Cast: Ed Stoppard, Sophia Myles, Greg Wise, Russell Tovey, Paul Kaye, Joanna Vanderham, Isaac Andrews
Genre: mystery thriller
Running time: 90 min
UK 2013
English language
Cert: TBC


A ghost story set in the English countryside, Blackwood. Early autumn, Professor Ben Marshall (Ed Stoppard) moves to his newly bought cottage with his wife, Rachel (Sophia Myles) and their young son, Harry (Isaac Andrews). Ben is supposed to take it easy and gives his family more attention as he has nearly recovered from a nervous breakdown. A cadence of autumnal forest rich tones mixes with extraordinary landscape or the atmospheric foggy nights while the omnipresent music score balances the early tension of the film.
Within weeks, Ben is convinced that his house is burdens with a heavy secret from its previous occupants. Determined to analyse all clues, Ben suffers some flashing visions. Meanwhile, Harry runs in the labyrinth of his garden forest in his yellow raincoat – a feel somehow of Nicolas Roeg’s Don’t Look Now – and encounters the “guardians” of the vicinity: a gamekeeper, Jack (Russell Tovey) and a priest, Father Patrick (Paul Kaye – ex Go Disc! signature) who carves owls.


In his pursuit of truth, Ben is clearly losing control and embarks in a spiral nearing insanity. More down to earth, Rachel will have to decide to follow her husband’s slide or save their child.
From the very moment she finds the grandfather clock’s key and set up the time, Ben’s visions signifies his own future rewinding the clepsydra to a point where he will meet the same fate as Johnny Depp in The Astronaut’s Wife.


Blackwood is Adam Wimpenny’s first feature film; he has however directed music videos, commercials and TV projects for the past decade. Ed Stoppard’s performance is not necessarily pleasant to watch: an over stabilo tortured character. Whereas Paul Kaye and Russell Tovey are pretty convincing in their creepy creatures disguise: you might keep wondering whether they are serial-paedo / killers / monsters or just innocent creatures who act weirdly. Blackwood has the right ingredients to make a perfect sauce but it doesn’t quite thicken. It is more on the surface than in its depth and jumps from high tension to power cuts punctuated with moments of absolute scenery beauty.








Monday, 21 July 2014

Return of the Rudeboy by Dean Chalkley and Harris Elliott @ Somerset House, WC2R. Until 25 August. Free

© Dean Chalkley 

"In a conservative culture that feels like punk never happened, the time is right for Return of the Rudeboy. Being as old as rock’n’roll, I've been perfectly placed to witness the twists and turns of a style-driven youth culture that seems to have all but disappeared in the 21st century, or so I thought. Return of the Rudeboy looks at the tradition, heritage and most importantly re-emergence of what is a very British thing.Don Letts

Photographer and filmmaker Dean Chalkley and creative director Harris Elliot are being partners in crime for this major exhibition of the Return of the Rudeboy at Somerset House.
Strictly speaking, it is not exactly a return as the concept of the Rudeboy never vanished. But crime is not a word that would describe a rudeboy or rudegirl nowadays.

© Dean Chalkley

In the 60’s Jamaica, the Ska sound system scene were imitating the North American gangsta trend and were followed by the ghettos bad boys. Sharply dressed and violent, the Rudys introduced their style, discontentment and bad behaviour in UK where they were ignored: the school system didn’t represent them; they had very little chance to be employed; they were the police targets when a crime was committed. To some, Stuart Hall didn’t represent them as his academic knowledge was White British based – see 70’s-80’s films by David Leland and Jane Howell’s R.H.I.N.O (Really Here in Name Only); Burning an Illusion by Menelik Shabazz; Babylon by Martin Stellman and Franco Rosso; Horace Ové’s Pressure; as well as John Goto’ photographs recording the young Afro-British in the book Lovers’ Rock:series of portraits made in 1977.

Being rejected by a society that plague-stricken them through the 70’s and 80’s, the Rudeboy continued to create an expressive and immaculate dress code as a way of escapism from conformity as well as imposing their own rules within their microcosm as a way of rebelling. They gathered around sound systems and listened to MC’s, ska, reggae, rocksteady etc. Apart from the filmmakers mentioned above, there had been musical fusion in the mid 70’s with Don Letts and The Clash as well as Nina Hagen with her African Reggae or The Specials, for the ones representing directly the Rudeboy subculture. Madness being perhaps a sublet of their sounds.

The 90’s opened its doors to a multicultural era and was labelled as Cool Britannia with a musical explosion of acid jazz and afro-beats but also of Drum & Bass and trip-hop scenes while Straight No Chasers documented rigorously these scenes. The attitude and sharply suited Rudeboy was less apparent but seems to be re-emerging today.

Dean Chalckley and Harris Elliott made a strong point about the fact they didn’t want to exhibit decades of the rudys re-creating a complete history. Their main focus was to document, over the past year, the Rudeboy today in UK as a re-emerging style and attitude: still sharply dressed without any political claim. Anybody is welcome to adopt a Rudeboy style.
The duo offers a diaspora of a Rudeboy lifestyle from grooming to customised items surveying the essence of a growing genre.
Return of The Rudeboy features large scale photographs, installations, dressed up models, grooming objects, customised shoes and if you are in an urgent need of being groomed, a hair dresser – barber room is at your disposal... well, you still need to book in advance.
Chalkley and Elliott insist on the fact that the main concern of a rudeboy is a quality sense of dressing incorporating a sense of humour.
Although the Rudeboy never really went away, he/she is back more obviously in the streets, any streets without the confrontation attitude. Just sharp!

About Dean Chalkley
Dean Chalkley is a photographer and filmmaker based in London. He grew up in the Thames estuary town of Southend-on-Sea. After training to be a tailor, he put the scissors aside in favour of the camera and studied at Blackpool and the Fylde College, where he completed his Photography degree. Whilst at college he began shooting for Dazed and Confused magazine in 1998. Since then, Dean has continued to depict his love for culture, and music especially, working with many different publications, record companies and fashion brands. He has undertaken high profile campaigns for brands including Ray-Ban, Adidas and Levis. Often personal and experimental, film credits include Young Souls (2011) on the contemporary Northern Soul scene, The New Faces: A Short Film (2012) on the modern Mod subculture, and most recently The Arena (2013) a beguiling insight into Banger Racing which premiered at the V&A. Personal projects and commissioned work have also produced imagery for numerous exhibitions including Now Stand Tall (2006), Southend’s Underground (2006), Young Souls (2011), and Look.Hear (2012) at The Royal Albert Hall.

About Harris Elliott
Harris Elliott is a creative director, he graduated with a BA Hons degree in Interior Architecture and Design. His love for all things sartorial led him away from designing structures, to a prominent career encompassing art direction for fashion brands and styling. He is also well known for his luxury accessory brand H by Harris, with its signature designs that are stocked in premium boutiques internationally. Harris has styled A-list icons from Pharrell Williams, Scarlett Johansson, and Damon Albarn for advertising campaigns and publications, among them i-D, Entertainment Weekly and American GQ. He is regularly commissioned by luxury, fashion and sportswear brands to devise concepts and art direct print, digital and film campaigns. Notably Puma, who sought him to art direct and design for their Olympic press campaign with Usain Bolt. More recently Harris has worked with Paul Smith, The Edition Hotel Group, Onitsuka Tiger and Adidas.
He is a regular on the Tokyo fashion scene for designing accessories, art directing and styling catwalk
shows. Harris's current collaborations and consultations include projects with Erykah Badu, Mr Hare and Wetransfer. Inspired by art, film and culture in all its guises, Harris recently joined forces with long term collaborator and film maker Manny Bonett to launch the creative direction studio, Cavalry.

LISTINGS INFORMATION
Dates: Until 25 August 2014
Opening Hours: 10am – 6pm Daily.
Address: Terrace Rooms , Somerset House, Strand, London, WC2R 1LA
Admission: Free
Transport: Temple, Embankment Charing Cross, Waterloo
Somerset House Facebook: www.facebook.com/SomersetHouse
Somerset House Twitter: @SomersetHouse
Hashtag: #RudeboysReturn
Project website: www.returnoftherudeboy.com