Friday Arts Diary

Our cultural picks for the week ahead.

Exhibitions

 

Estorick Collection of Modern Italian Art, London, N1: In Astratto: Abstraction in Italy 1930–1980, 27 June – 9 September

Organised in conjunction with the Regional Centre for Contemporary Art in Liguria, In Astratto explores 50 years of abstraction in Italy, from the Futurist developments of the interwar period to the geometry of arte concreta, 1960s conceptualism and the subsequently return to a more "painterly" style of pure form and colour. The exhibition reveals the astonishing richness and variety that emerged after the Second World War, featuring artists from Giulio Turcato to Lucio Fontana to Franco Grignani in the tranquil surrounds of the Estorick Collection.

Film       

The Hepworth Wakefield, West Yorkshire: Luke Fowler, 23 June – 14 October

This major new commission by Turner-nominated artist Luke Fowler explores the work of radical socialists Edward Palmer-Thompson, Raymond Williams and Richard Hoggart and the northern working class communities that shaped their writing. The Poor Stockinger, the Luddite Cropper and the Deluded Followers of Joanna Southcote is based on research from northern archives and portrays the radicalists’ involvement with the Workers’ Education Association.

Music

 

St Paul’s Cathedral, London, EC4M: Sir Colin Davis/London Symphony Orchestra in Berlioz’s Requiem, 26 June

Sir Colin Davis conducted the first ever concert of the City of London Festival 50 years ago, and he is back to mark the occasion with the London Symphony Orchestra in this performance of Berlioz’s Requiem. The concert begins four weeks of events in the spectacular confines of the City, from concerts at St Paul’s to a tour of the 400-year-old Charterhouse on 30 June, a free talk by Sir Andrew Motion on 4 July and the placing of 50 golden “street pianos” for members of the public around the City.

Literature  

 
Queen Elizabeth Hall, Southbank, SE1: World Poetry Summit, 26 June

This week sees the start of Poetry Parnassus, the UK’s largest ever poetry festival to mark the culmination of the Cultural Olympiad. Entitled “Finding Poetry’s Place in the World”, the World Poetry Summit will gather poets from across the globe, with artist-in-residence Simon Armitage and a variety of talks about poetry in the 21st century. Alternatively, attend one of the many talks and performances taking place between 26 June and 1 July, including readings by Armitage, Seamus Heaney on 29 June. To mark the launch on Tuesday, 100,000 bookmark-shaped verses will "rain over" the South bank’s Jubilee Gardens from a helicopter.
 

Festival  

The Barbican Centre, London, EC2: Bauhaus by Day, Bauhaus by Night, 23 June

A day of festivities inspired by the joyful community of the Bauhaus to complement the Barbican’s exhibition of the world’s most famous art school. Activities include puppet, kite and accessory-making sessions, a lecture and the launch of Ian Whittlesea’s new book, Mazdaznan Heakth and Breath Culture. All of this is followed by a Bauhaus-themed Costume Party in the Barbican’s Garden Room, with live jazz from the Joshua Jawson Quartet.
 

St Paul's Cathedral: Sir Colin Davis will conduct Berlioz's Requiem in the 50th City of London Festival. Photo: John D McHugh/Getty Images
Show Hide image

Do the abusive messages sent to One Direction members reveal a darker side to fandom?

Incidents like this are often used to characterise all young female fans, but this isn’t about fandom. It’s harassment. 

One Direction’s Niall Horan is the internet’s favourite innocent blond goofball. He spends his days tweeting platitudes about golf and the weather, Snapchatting his reactions to whatever is on his TV, and thanking his fans for everything they’ve done for him. His social media presence is generally one of cheerful bemusement.

So, last night, the web went into maternal #ProtectNiall mode when he took to Twitter to highlight the darker side to fame.

A group of “fans” got hold of Niall’s number, and started frantically texting, WhatsApping and calling him. After two weeks of constant abusive messaging, despite requests to stop, Niall tries to use his platform to get them to stop.

Around the same time, screenshots of the supposed messages started to circle online. (I certainly can’t prove whether they’re real or not, but they first surfaced before Niall’s tweets and feel genuine.) The pattern that emerges seems to be one of frantic, attention-seeking messaging, extreme shock and surprise when he writes back, and, when Niall only requests that they stop messaging him and respect his privacy, the really nasty stuff starts. Messages range from “You invented cancer” to “If [your nephew] was my kid I’d sell it”; from “You’re so stupid and r*tarded” to “I hope your house blows up”.

Niall’s responses are extremely Niall in their politeness. “Why do I deserve to have a bad day?” he asks one. “You guys are bullies,” he tells them. “Go away please.”

As soon as the screenshots emerged, so did suspicions about the identity of the individuals in question. A set of five or six Twitter handles were circled by fan accounts, encouraging people to block and report the usernames to Twitter. Some of the owners of these accounts themselves claim to have been part of the conversations in question, to varying degrees. These account owners are seemingly women, under the age of 18, who have supposedly been involved in other recent One Direction harassment incidents.

One of those incidents came just days before Niall’s tweets. A person suspected to be a member of this group of “fans” got hold of another band member’s phone number: Louis Tomlinson’s. You can listen to a recording of the phone conversation between them that leaked online. After telling him her Twitter handle, Tomlinson asks the caller how she got his number. “You’re a fucking bitch and I hope your baby dies,” she says. Louis responds with a variation on the ancient proverb, “Lawyer up, asshole.” He seemingly tweeted about the incident later that day – and Niall retweeted him.

Fan accounts insist that the same Twitter users were also involved in hacking the iCloud of Anne Twist, Harry Styles’s mother, and leaking hundreds of photos of her son online.

The whole situation is a complicated mess. Parts of the messages feel as though they have been influenced by the style of accounts desperately trying to get the attention of celebrities on Twitter. If you look at the top reply to any tweet from a celebrity with millions of Twitter followers, the responses are calculated to shock the most in an attempt to get noticed. Maybe it’s a weird combination of sexual and violent imagery, or a sexist or racist slur. This is harassment itself, but its ubiquitousness can make it seem less offensive or extreme. Perhaps this kind of behaviour is easier to ignore on Twitter or Instagram – if you have millions of followers, you presumably can’t be notified every time one of them interacts with you online. When it moves into your private sphere, I can image it becomes more terrifying than annoying. Maybe these girls were simply swept up in the cultural moment, and failed to grasp the consquences of their behaviour.

Is it a damning indictment of the hysteria of teenage girls? The scary state of twenty-first century fandom? The problems of anonymity offered by the internet? It’s true that the internet has offered new ways for fans and celebrities to have a more direct connection with one another: for the most part, a mutually beneficial arrangement.

But the revelation of the internet has also been that it is a tool through which fundamentally human behaviours are expressed. Over the last few decades, we have learned that aggressive behaviour online is not limited to largely non-existent stereotypes of spotty virgins in their mothers’ basements, or teenage girls developing “dangerous” sexuality. Grown men and women, mothers, fathers, daughters, sons all do it. It’s also not a behaviour that is inherently connected to online spaces: children and teenagers might experiment with moral boundaries through cyberbullying, but they also might do it via anonymous notes in lockers or whispers in school corridors. People of all ages, professions and genders harass others.

The real problem is not celebrity culture or the concept of teenage fandom or social media. As Louis Tomlinson rightly identifies, it’s that our laws have failed to catch up. If we continue to treat harassment as harassment, in all spaces and by all perpetrators, we’ll have a better chance of minimising it.

Anna Leszkiewicz is a pop culture writer at the New Statesman.