V&A East’s plans to shake up the art world with community-inspired museum and storehouse
Gus Casely-Hayford is a man on a mission to open up and diversify the arts sector.
As founding director of V&A East – one of the world’s most significant new museum projects and part of the mayor of London’s £1.1bn Olympic legacy project – he knows that shifting the canon won’t necessarily be easy.
Gus Casely-Hayford plans to speak to around 100,000 young people about his two new arts venues. Pic: Victoria and Albert Museum
Casely-Hayford told Sky News: “There are challenges that we have in this country… Years of museum tradition based around particular narratives.
“There’s a fairly conservative bedrock upon which we have to begin to build new narratives. Think about how we can actually include voices that it may have felt acceptable to marginalise a generation ago.”
Based in Stratford’s Queen Elizabeth Olympic Park, V&A East will bring two brand new arts venues to East London – a five-storey, 7,000 square meter museum on the waterfront, and a vast glass and brick storehouse, offering more than 250,000 curated items for public view, just a 10-minute walk away.
Balenciaga inspired
Based on an X-Ray of a Balenciaga ballgown, and informally dubbed “the crab”, the museum will form part of a new cultural quarter collectively known as East Bank, nestling alongside a Sadler’s Wells dance theatre, BBC recording and performance studios and UAL’s London College of Fashion.
In a world where many consider the arts to be for the privileged few rather than the many, Casely-Hayford says his bid to highlight under-represented voices is clear cut.
He said: “These are our spaces paid for with our tax money. We should all be getting the benefit.”
Having moved back from the US to take up the role (he was previously director of the Smithsonian, National Museum of African Art in Washington DC), Casely-Hayford has applied a fresh view to the British art scene.
X-ray of a silk taffeta Balenciaga evening dress, Paris, 1954. Pic: Nick Veasey, 2016
He said: “Art is one of the things that we do better than anyone else. You look at the sorts of people who represent us best at the Oscars or in music, and they represent the cultural diversity of our nation.
“I would love it if in the museum sector, if we could really get on board with that, invest in that, but not just do it in terms of the art that we display on our walls, but also the people who curate our spaces.”
The Global South
The museum will collect work from around the world, prioritising issues from the Global South – Latin America, Asia, Africa, and Oceania.
And far from being a modern obsession or trendy buzzword, Casely-Hayford believes diversity is woven into the very fabric of being British.
An early concept image for V&A East Museum. Pic: JA Projects
He said: “The thing that makes me proud is that we are a diverse nation. You think about our national flag, that we didn’t choose a tricolour.
“We chose a flag which demonstrates the differences and how we come together, that we are a number of different nations. We accept diversity, complexity, and we want our space to be able to tell those stories.
“All of that cultural complexity, the stories of empire, of enslavement, of all these difficult things. But also, the transcendent stories of how through creativity, we can come together as one.
“We can be a single nation that celebrates greatness, goodness, that celebrates the sorts of things that inspire a new generation.”
V&A East Museum in Queen Elizabeth Olympic Park. Pic: Victoria & Albert Museum
‘An engine of transformation’
And he says aside from artists and curator diversity, attention must be turned to both the visitors and staff of the museum too.
“We want to build this institution from the ground up, for and with our local communities. We want it to reflect their need,” he said.
“When it opens in 2025 and you come into our space, I’m hoping that you’ll be welcomed by people who demonstrate the kind of cultural complexity of the people that live in and around this area.”
Not a man to rest on his laurels, he’s quite literally got on his bike to share news of the new spaces to secondary schools in the area, in a bid to talk to 100,000 young people.
It is his ambition that one of the children who walks through the museum doors will go on to have their art on the walls, or even one day claim his job.
Calling the spaces “an engine of transformation”, he wants the younger generation to see the creative industries as a viable profession, as he says, “not from the margins, not feeling they’re part of the peripheral, but right in the bedrock of institutions like V&A East”.
Holding institutions to account
Ahead of these potential new opportunities, emerging artist Heather Agyepong says the last two years have been transformational in black British art, offering her a position of power as an artist for the first time.
Heather Agyepong, visual artist and actor. Pic: Hydar Dewachi
She told Sky News: “I think since George Floyd was murdered, and the black uprisings, there’s been a real thirst and a kind of embarrassment about the lack of black British art in collections.
“In 2020, all of these institutions gave these massive pleas and dedications to include more black British art, which has been amazing. But I think now, two years on, you’re seeing that some of it was a little bit performative, or for optics.
“For me as an artist now, I feel I can hold those intuitions accountable because they made all of these claims, and I can go back and say, ‘what are you doing to address your collections? What are you doing to address the inclusion of black British art?’
“I feel quite empowered now, as an artist moving forward.”
However, she admits she wasn’t always as clued up about the rich heritage of the UK’s black artists.
Ego death at Jerwood Space, supported by Photoworks. Pic: Anna Arca
She said: “I did an MA at Goldsmiths in 2013, and that was my first introduction to black British art, before then, I think I didn’t even know black British artists existed, if I’m honest.
“My course convenor, Paul Halliday, opened my eyes to what that whole movement looked like. And I remember, I was just stunned, and I felt like, ‘why did no one tell me this?’, because I always felt I was by myself. So, that course was really instrumental in understanding the legacy of us as artists.”
‘Small and in the corner’
Speaking about her latest exhibition, Ego Death, which includes oversized fabric triptychs, one inspired by Oscar winning film Get Out, she says: “There’s a thing sometimes about black artists, we feel like we can’t take up space, that we’ve kind of got to be small and in the corner. Be kind of apologetic.”
She credits artists including Turner Prize winning Lubaina Himid, Sonya Boyce and Claudette Johnson – who all came to prominence during the UK Black Arts movement (BAM) of the 1980s – as “paving the way” for her, adding: “I wouldn’t be here without them.”
Lisa Anderson, managing director of the Black Cultural Archives
Lisa Anderson, managing director of the Black Cultural Archives (BCA), also credits the movement with inspiring her to pursue a career in the arts.
For her latest exhibition, Transforming Legacies, which celebrates the 40th anniversary of BAM, she reunited more than 50 artists of African and Caribbean ancestry to recreate the iconic 1958 A Great Day In Harlem photo.
Anderson says improving representation across the board is a matter of teamwork.
“We need allyship as well. We need collaboration from galleries, other researchers, universities, auction houses so that they can validate and support the growth of the work from these artists,” she said.
Black British artists gather for a photograph inspired by Art Kane’s A Great Day in Harlem. Pic: David Kwaw Mensah
Culture wars
As government funding has dried up, sustained support needed to give communities a level footing has dropped away.
But in the face of adversity, Anderson is hopeful: “We’re in the midst of a culture war with some key figures in the government questioning the importance of equality and inclusion and questions of diversity. So, it is very discombobulating.
“But I think the momentum for focus on artists from the African diaspora in a meaningful, inclusive way is something to be hopeful about. I’m definitely going to be joining hands with other organisations, other key leaders within the UK and internationally to keep that going for the long term.
“What would be horrendous, is if 20 years from now, we’re having to have a similar conversation. I don’t want that to be the case. I just want this conversation to expand.”
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V&A East Storehouse will open in 2024 and V&A East Museum will open in spring 2025.
Transforming Legacies is on show at Black Cultural Archives, Brixton, until 31st January 2023.
Heather Agyepong’s, Ego Death exhibition was first shown at the Jerwood Space, London, in 2022 and will tour to Belfast Exposed, Northern Ireland, in 2023. Her solo exhibition, Wish You Were Here, will be showing at the new Centre for British Photography from January and her work will be included in Photo50 at the London Art Fair in the new year. She will also be appearing in Amazon Prime’s forthcoming thriller The Power.
The last blast furnaces left operating in Britain could see their fate sealed within days, after their Chinese owners took the decision to cut off the crucial supply of ingredients keeping them running.
Jingye, the owner of British Steel in Scunthorpe, has, according to union representatives, cancelled future orders for the iron ore, coal and other raw materials needed to keep the furnaces running.
The upshot is that they may have to close next month – even sooner than the earliest date suggested for its closure.
Read more: Thousands of jobs at risk as British Steel consults unions over closure
The fate of the blast furnaces – the last two domestic sources of virgin steel, made from iron ore rather than recycled – is likely to be determined in a matter of days, with the Department for Business and Trade now actively pondering nationalisation.
The upshot is that even as Britain contends with a trade war across the Atlantic, it is now working against the clock to secure the future of steelmaking at Scunthorpe.
The talks between the government and Jingye broke down last week after the Chinese company, which bought British Steel out of receivership in 2020, rejected a £500m offer of public money to replace the existing furnaces with electric arc furnaces.
The sum is the same one it offered to Tata Steel, which has shut down the other remaining UK blast furnaces in Port Talbot and is planning to build electric furnaces – which have far lower carbon emissions.
These steel workers could soon be out of work
However, the owners argue that the amount is too little to justify extra investment at Scunthorpe, and said last week they were now consulting on the date of shutting both the blast furnaces and the attached steelworks.
Since British Steel is the main provider of steel rails to Network Rail – as well as other construction steels available from only a few sites in the world – the closure would leave the UK more reliant on imports for critical infrastructure sites.
However, since the site belongs to its Chinese owners, a decision to nationalise the site would involve radical steps government officials are wary of taking.
They also fear leaving taxpayers exposed to a potentially loss-making business for the long run.
The dilemma has been heightened by the sharp turn in geopolitical sentiment following Donald Trump’s return to the White House.
The incipient trade war and threatened cut in American support to Europe have sparked fresh calls for countries to act urgently to secure their own supplies of critical materials, especially those used for defence and infrastructure.
Read more:
Car manufacturers fined £461m for collusion
There were no winners from Trump’s tariff gameshow
Gareth Stace, head of UK Steel, the industry lobby group, said: “Talks seem to have broken down between government and British Steel.
“My advice to government is: please, Jonathan Reynolds, Business Secretary, get back round that negotiating table, thrash out a deal, and if a deal can’t be found in the next few days, then I fear for the very future of the sector, but also here for Scunthorpe steelworks.”
British Steel declined to comment.
UK
Prince Andrew’s Pitch@Palace branded ‘crude attempt to enrich himself’ as Chinese spy documents set to be released
Prince Andrew’s efforts to make money from his Pitch@Palace project have been branded as a “crude attempt to enrich himself” at the expense of “unsuspecting tech founders”, as new documents may shed more light on what he and his team have been attempting to sell.
Today is the deadline for documents to be released relating to Prince Andrew‘s former senior adviser Dominic Hampshire and his interactions with the alleged Chinese spy Yang Tengbo.
In February, an immigration tribunal heard how the intelligence services had contacted Mr Hampshire about Mr Yang back in 2022. Mr Yang helped set up Pitch@Palace China, a branch of the duke’s scheme to help young entrepreneurs.
The alleged Chinese spy, Yang Tengbo, has links with Prince Andrew
Yang Tengbo. Pic: Pitch@Palace
Judges banned Mr Yang from the UK, saying his association with a senior royal had made Prince Andrew “vulnerable” and posed a threat to national security. Mr Yang challenged that decision at the Special Immigration Appeals Commission (SIAC).
Since that hearing, media organisations have applied for certain documents relating to the case and Mr Hampshire’s support for Mr Yang to be made public. SIAC agreed to release some information of public interest. It is hoped they may include more details on deals that he was trying to do on behalf of Prince Andrew.
So what do we know about potential deals for Pitch@Palace so far?
In February, Sky News confirmed that palace officials had a meeting last summer with tech funding company StartupBootcamp to discuss a potential tie-up between them and Prince Andrew relating to his Pitch@Palace project.
The palace wasn’t involved in the fine details of a deal but wanted guarantees to make sure it wouldn’t impact the Royal Family in the future. Sky News understands from one source that the price being discussed for Pitch was around £750,000 – there are, however, reports that a deal may have stalled.
Photos we found on the Chinese Chamber of Commerce website show an event held in Asia between StartupBootcamp and Innovate Global, believed to be an offshoot of Pitch.
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Who is alleged Chinese spy, Yang Tengbo?
Documents, released in relation to the investigations into Mr Tengbo, have also shown how much the duke has always seen Pitch as a way of potentially making money. One document from 21 August 2021 clearly states “the duke needed money at the time, and saw the relationships with China through Pitch as one possible source of funding”.
But Prince Andrew’s apparent intention to use Pitch to make money has led to concerns about whether he is unfairly using the contacts and information he gained when he was a working royal.
Norman Baker, former MP and author of books on royal finances, believes it is “a crude attempt to enrich himself” and goes against what the tech entrepreneurs thought they were signing up for.
Read more:
Who is Yang Tenbo?
Virginia Giuffre says she has days to live
Emails between Andrew and Epstein revealed
He told Sky News: “The data given by these business people was given on the basis it was an official operation and not something for Prince Andrew, and so in my view, Prince Andrew had no right legally or morally to take the data which has been collected, a huge amount of data, and sell it…
“And quite clearly if you’re going to sell it off to StartupBootcamp, that is not what people had in mind. The entrepreneurs who joined Pitch@Palace did not do so to enrich Prince Andrew,” he said.
Rich Wilson was one tech entrepreneur who was approached at the start of Pitch@Palace to sign up, but he stepped away when he spotted a clause in the contract saying they’d be entitled to 2% equity in any funding he secured.
He feels Prince Andrew is continuing to use those he made a show of supporting.
He said: “It makes me feel sick. I think it’s terrible – that he is continuing to exploit unsuspecting tech founders in this way. A lot of them, I’m quite grey and old in the tooth now, I saw it coming, but clearly most didn’t. And a lot of them were quite young.
“It’ll be their first venture and you’re learning on the trot, so to speak. So to take advantage of people in such a major way – that’s an awful, sickening thing to do.”
We approached StartupBootcamp who said they had no comment to make, and the Duke of York’s office did not respond.
With reports that a deal may have stalled, it could be a big setback for the duke – especially with questions still about how he’ll continue to pay for his home on the Windsor estate now that the King no longer gives him financial support.
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