The Friday Arts Diary

Our cultural picks for the week ahead, from Hitchcock to Heatherwick at the V&A.

Film

The British Film Institute, London, SE1: The Genius of Hitchcock, 1 June – 1 October

He is perhaps Britain’s most iconic filmmaker, and from June until October the BFI will be paying homage to the visionary director who left an indelible stamp on the world of cinema, art and popular culture. Two years ago, efforts began to restore Hitchcock’s nine surviving silent films. Thanks to serious dedication from the BFI and its patrons, the restored films will be screened at world premiere events in June and July, hosted by iconic London venues including the British Museum and Wilton’s Music Hall. From August until October the BFI Southbank will also be screening the entire retrospective of the Hitchcock’s cinematic career.

Dance

Sadler’s Wells and the Barbican Centre, London, EC1 and EC2: Tanztheater Wuppertal Pina Bausch — World Cities, 6 June – 9 July

Pina Bausch has stood the test of time as a seminal influence on modern dance, a performer and choreographer with an experimental viewpoint and an “unmatched ability to combine the poetic and the everyday”. Sadler’s Wells Theatre and the Barbican Centre team up for a marathon series of performances: ten works inspired by ten global cities – each one lived in by Bausch and her dance company Tanztheater Wuppertal for a period of time – staged over four weeks. Sadler’s Wells artistic director and Pina Bausch devotee Michael Morris calls the season an endurance test dreamt up “over a dinner filled with red wine.” Sure to be an extraordinary dance spectacle of the first order.

Ideas

Hay-on-Wye, Wales: How the Light Gets In Festival, 31 May - 10 June

How the Light Gets In can proudly call itself the largest philosophy and music festival in the world. Hosted in the lovely Welsh town of Hay-on-Wye, the festival features ten days of debates on a host of philosophical topics ranging from art to ethics, politics to science. Here is a place where provocative ideas can mingle with a fine array of alternative music and comedy. Our own culture editor, Jonathan Derbyshire, will be chairing a debate on Uncharted Territory: Progress for the New Era, as well as speaking in discussions titled Hawking v. Philosophy and The World in Our Hands (featuring Nigel Lawson and Polly Higgins).

Exhibition

Victoria and Albert Museum, London, SW7: Heatherwick Studio: Designing the Extraordinary, 31 May - 30 September

This will be the first major exhibition of the work of Thomas Heatherwick and his design team at Heatherwick Studio. Hosted by the Victoria and Albert Museum, who have called Heatherwick “one of the most inventive and experimental British design studios practising today,” this is a thrilling opportunity to see some of the more infamous (a redesigned Routemaster) and lesser-known gems (the Longchamp zipper bags) from Heatherwicks’ oeuvre. Thames and Hudson have also published a very beautiful book to coincide with the show’s opening.

Art

Various Venues, London: London Festival of Photography, 1 - 31 June

Formally known as the London Street Photography Festival, this month-long series of exhibitions is back for its second year with a new name but the same agenda – to provide a platform for photography as a means of “visual storytelling”. This year’s exhibitions will be grouped around the common theme of Inside Out: Reflections on the Public and Private. With work from established and emerging artists, contemporary practitioners and historic entrepreneurs, the scope of work is broad and forward thinking. Highlights will include The Gaddafi Archive, an exclusive series excavated from the Human Rights Watch photography collection, and the Great British Public - contemporary images from across Britain shot by range of talented photographers.

Alfred Hitchcock in Cambridge, 1966 (Photo: Peter Dunne/Express/Getty Images)
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Putting the “savage” back in Sauvignon Blanc

This grape is so easily recognised that it might as well wear a name tag, but many varieties are brasher and bolder than you'd expect.

I was once the life’s companion of a man who was incapable of remembering names. This should have bothered him but he’d grown used to it, while I never could. At gatherings, I would launch myself at strangers, piercing the chatter with monikers to pre-empt his failure to introduce me. I was fairly sure that it was the other person’s name he couldn’t remember but I couldn’t discount the possibility that he had forgotten mine, too.

In wine, the equivalent of my bellowing is Sauvignon Blanc. This grape is so easily recognised that it might as well wear a name tag: it tastes of grass, gooseberry, asparagus and, occasionally, cats’ pee. The popularity of its New Zealand incarnation is probably partly a result of that cosy familiarity – which is ironic, given that “Sauvignon”, harking back to its evolution from wild grapes in France, comes from the French for “savage”. Never mind: evolved it has. “Wine is the most civilised thing we have in this world,” wrote the 16th-century author Rabelais, and he was born in the Touraine, where the gently citrusy Sauvignon makes an excellent aperitif, so he should know.

New World Sauvignons are often brasher and bolshier. It is likely that Rabelais’s two best-known heroes – Gargantua, who is born yelling, “Drink! Drink! Drink!” and whose name means “What a big gullet you have”, and Pantagruel, or “thirsting for everything” – would have preferred them to the Touraines. They work well with spice and aromatics, as Asian-fusion chefs have noticed, while the most elegant Loire Sauvignons, Sancerre or Pouilly-Fumé, make fine matches for grilled white fish or guacamole – in fact, almost anything enhanced by lemon. In Bordeaux, where whites principally blend Sauvignon and Sémillon, the excellent Dourthe is entirely the former; 9,000 miles away in Western Australia, Larry Cherubino makes a rounded Sauvignon in a similar style.

Many variations but one distinctive flavour profile – so I thought I was safe asking my best friend, an unrepentant wine ignoramus, whether she liked Sauvignon. Her shrug spurred an impromptu tasting: Guy Allion’s quaffable Le Haut Perron Thésée 2014, from Rabelais’s Touraine; a Henri Bourgeois Pouilly-Fumé Jeunes Vignes; and Greywacke Wild Sauvignon from Kevin Judd. Judd, who was largely responsible for making New Zealand whites famous when he worked for Cloudy Bay, is now putting the savage back in Sauvignon using naturally occurring (“wild”) yeasts that make the wine rich and slightly smoky but are not, by his own admission, terribly easy to control. This was the most expensive wine (£28, although the Wine Society sells it for £21.50) and my friend loved it.

She had expected to prefer the French wines, on the slightly dubious basis that she is Old World: of Anglo-Danish stock, with a passion for Italy. Yet only familiarity will tell you what you like. This is why bars with long lists of wines by the glass provide the best introduction. A favourite of mine is Compagnie des Vins Surnaturels, a Covent Garden joint run by two women, the sommelier Julia Oudill and the chef Ilaria Zamperlin. If the menu – scallops with Worcestershire sauce, croque-madame with truffled ham and quail egg – is delicious, the wine list is fabulous, with at least ten whites and ten reds at 125ml, with prices ascending into the stratosphere but starting at £6.

There are usually a couple of French Sauvignons, although many bottles still don’t name the grapes and the winemaker Didier Dagueneau (the “wild man of Pouilly”), whose wines feature here, preferred the old Sauvignon name Blanc Fumé. Thank goodness Sauvignon, despite its reputed savagery, has the manners to introduce itself so promptly: one sip, and you can move on to the congenial task of getting to know one another.

Next week: Felicity Cloake on food

Nina Caplan is the 2014 Fortnum & Mason Drink Writer of the Year and 2014 Louis Roederer International Wine Columnist of the Year for her columns on drink in the New Statesman. She tweets as @NinaCaplan.

This article first appeared in the 05 February 2015 issue of the New Statesman, Putin's war