The Friday Arts Diary

Our cultural picks for the week ahead

Theatre

Nosferatu, Barbican Centre, London EC2, 31 October - 3 November

Halloween may be over, but if you haven’t got your fill of scary thrills, head over to the Barbican for their current theatre production, Nosferatu. Performed by the multi-award winning Polish company TR Warszawa, who are rapidly gaining an international reputation for experimental theatre, this show takes a new interpretation of Bram Stoker’s classic Dracula. In a production full of horror tropes - dry ice, billowing curtains and flashes of lightening, the production promises to seduce the audience “into a dream-like state”. Director Grzegorz Jarzyna is collaborating for the first time with avant-garde musician John Zorn in an attempt to explore “what lies between an idea and reality, between light and shade.”

Art

Seduced by Art: Photography Past & Present, National Gallery, London WC2, 31 October – 20 Jan 2013

Perhaps surprisingly the first major photography exhibition to come from the National Gallery, Seduced by Art, looks specifically at the influence of Fine Art traditions on photography. Spanning the early beginnings of photographic technology to its current digital phase, the show will juxtapose current photographers such as Sam Taylor-Wood and Gustave Le Grey alongside iconic paintings from the national gallery collection including Ingres and Degas. Divided into the themes of portraiture, still life, nudes and landscapes, the show demonstrates the continuation of an historic tradition which has been re-worked, re-interpreted, but still remains very much relevant to aesthetic judgements today.

Film

The Master,  Dir: Paul Thomas Anderson With: Joaquin Phoenix, Philip Seymour Hoffman, Amy Adams

This hugely anticipated film by renowned director Paul Thomas Anderson (There Will be Blood) could have scarcely been more hyped-up by its previews. Initial reviews have uniformly reduced critics to stutters as they attempt to articulate its power.   Joaquin Phoenix stars in what has been dubbed a "laceratingly powerful" performance alongside Philip Seymour Hoffman and Amy Adams in a story loosely inspired by the life of L Ron Hubbard. Essentially a  story of two sociopaths and the elusive American dream, the film has been hailed as “a supremely confident work from a unique film-maker”, which leaves viewers “utterly lost in its demagogic thrall”.

Music

London International Festival of Exploratory Music, Kings Place, London N1, 31 October – 3 November

For those who don’t like their music mainstream, LIFEM is a four day festival at Kings Place which self-professes to “push back boundaries, challenging audiences with bold musical initiatives and a rejection of expectations”. This year’s theme is "Sounds from the Arctic Cool". Featuring a line-up of Scandinavia's most cutting-edge musicians, including Biosphere, EF, Deaf Centre and Wimme Saari, this promises to be four days of dark, surreal sounds.

Festival

Day of the Dead, Old Vic Tunnels, London SE1, 31 October - 3 November

Appropriating the Mexican tradition of Day of the Dead, the Old Vic Tunnels are being transformed into a four-day festival featuring music, art and theatre all to celebrate the eventual prospect of shuffling off this mortal coil. Featuring world music from Rodrigo y Gabriela alongside a host of stalls and bars selling Mexican street food and a liberal dose of tequila. New art commission enliven the tunnels with works from photographer Graciela Iturbide and the Le Gun collective, whilst families are also accounted for by Saturday’s children’s workshops.

Mexico City during the Day of the Dead. (Photo credit: ALFREDO ESTRELLA/AFP/Getty Images)
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On Wheels

A new poem by Patrick Mackie

The hills swarm and soften towards the end of the day just as
flames do in a fireplace as the evening
loosens and breaks open and lets out night.
A nasty, grotesque, impatient year ended,
and the new one will be bitter,
tired, opaque. Words wrangle in every inch of air,
their mouths wide open in stupid shock
at what they have just heard every time they hear anything. Venus,
though, blazes with heavy wobbles of albeit frozen
light. Brecht, who I like to call my
brother just as he called Shelley his,
has a short late poem where he sits by a roadside, waiting
while someone changes the wheel on his car,
watching with impatience, despite not liking
either the place that he is coming from or
the place that he is going to. We call it
connectivity when in truth it is just aggression
and imitation writ ever larger. Poems, though,
are forms of infinite and wry but also briskly
impatient patience. Brecht’s poem seems to end,
for instance, almost before you
can read it. It wheels. The goddess is just a big, bright
wilderness but then soon enough she clothes
herself again in the openness of night and I lose her.

Patrick Mackie’s latest collection, The Further Adventures Of The Lives Of The Saints, is published by CB Editions.

This article first appeared in the 18 May 2017 issue of the New Statesman, Age of Lies

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