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.
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.
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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.”
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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.
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.
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.”
‘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.
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.
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 (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.
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.”
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.
He called emergency services but soon “water started seeping in”.
“I thought I’m going to have to get out, I’m going to have to smash a window,” Mr Randles said.
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He wound down his and his son’s windows, and climbed out before rescuing his son.
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‘Devastating’ flooding in Wales
“The water was chest high, I held him up as high as I could to keep him out of the water.”
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“It wasn’t raining so heavily, I’ve driven in much worse rain,” he added.
Mr Randles, a self-employed roofer who relies on the car for work, said he remained calm during the ordeal and was helped by the fact that Luca was asleep during the rescue.
Mr Randles’ partner Paige Newsome – who was not in the car at the time – said the incident was “really scary”.
“To think I could have actually lost them both – I don’t know how I would’ve lived,” she said.
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The road has been flooding for at least two decades, the couple said.
“What is it going to take for the council to sort it out? Does a fatal incident have to happen? It’s been going on for years,” Ms Newsome said.
The couple are worried about affording another car as well as Christmas celebrations.
But Mr Randles said: “I’m grateful that we got out safely and that we can spend his first birthday and Christmas as a family.”
Storm Bert has brought more than 80% of November’s average monthly rainfall in less than 48 hours to some parts, the Met Office said.
Around 300 flood warnings and alerts are in place in England, with another 100 in Wales and nine in Scotland, as heavy rain and thawing snow bring more disruption across the UK.
A major incident was declared by Rhondda Cynon Taf County Borough Council in South Wales after homes and cars were submerged in water.
‘It is devastating’
Gareth Davies, who owns a garage in Pontypridd, a town in Rhondda Cynon Taf, told Sky’s Dan Whitehead that flooding has put his small business “back to square one”.
As the River Taff burst its banks, the majority of the vehicles in Mr Davis’s garage were so damaged he says they will have to be written off.
“I am gutted,” he said, standing in his flooded garage, most of which is also covered in oil after a drum tipped over.
“How long is it going to take to sort out? I am going to lose money either way. I can’t work on people’s cars when I am trying to sort all of this out.
“It is devastating.”
Mr Davies said he has never had an issue with water coming into his garage until now.
Pointing to one car that had been hoisted into the air before water reached it, he said: “Lucky enough, I did come in this morning just to get that car up in the air.
“I don’t know what to say, I have been working flat out for two years to build this up and something like this happens, and it just squashes it all.
“This has put me back to square one.”
At least two to three hundred properties in South Wales have been affected by flooding, Councillor Andrew Morgan, leader of Rhondda Cynon Taf Borough Council, said on Sunday.
He said the affected buildings are a mixture of residential and commercial properties, after the weather turned out to be worse than what was forecast.
The Labour MP behind the assisted dying bill said she has “no doubts” about its safeguards after a minister warned it would lead to a “slippery slope” of “death on demand”.
In a strongly worded intervention ahead of Friday’s House of Commons vote, Ms Mahmood said the state should “never offer death as a service”.
She said she was “profoundly concerned” by the legislation, not just for religious reasons, which she has previously expressed, but because it could create a “slippery slope towards death on demand”.
Asked about the criticism, Ms Leadbeater said: “I have got a huge amount of respect for Shabana. She’s a very good colleague and a good friend.
“In terms of the concept of a slippery slope, the title of the bill is very, very clear.
“It is called the Terminally Ill Adults (End of Life) Bill. It cannot include anybody other than people who are terminally ill, with a number of months of their life left to live. It very clearly states that the bill will not cover anybody else other than people in that category.”
She wants people who are in immense pain to be given a choice to end their lives, and has included a provision in the legislation to make coercion a criminal offence.
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The matter will be debated for the first time in almost 10 years on Friday, with MPs given a free vote, meaning they can side with their conscience and not party lines.
As a result, the government is meant to remain neutral, so the intervention of cabinet ministers has provoked some criticismfrom within party ranks.
Labour peer Charlie Falconer told Sky News Ms Mahmood’s remarks were “completely wrong” and suggested she was seeking to impose her religious beliefs on other people.
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Kevin Hollinrake says he will be in favour of the assisted dying bill
Asked about his comments, Ms Leadbeater said it was important to remain “respectful and compassionate throughout the debate” and “for the main part, that has been the case”.
She added: “The point about religion does come into this debate, we have to be honest about that. There are people who would never support a change in the law because of their religious beliefs.”
Ms Leadbeater went on to say she had “no doubts whatsoever” about the bill, which has also been objected by the likes of Health Secretary Wes Streeting and former Labour prime minister Gordon Brown.
Asked if she has ever worried about people who don’t want to die taking their own lives because of the legislation, Ms Leadbeater said: “No, I don’t have any doubts whatsoever. I wouldn’t have put the bill forward if I did.
“The safeguards in this bill will be the most robust in the world, and the layers and layers of safeguarding within the bill will make coercion a criminal offence.”
There is a lot at stake this week for Sophie Blake, a 52-year-old mother to a young adult, who was diagnosed with stage four cancer in May 2023.
As MPs vote on whether to change the law to allow assisted dying, Sophie tells Sky News of the day her life changed.
“One night I woke up and as I turned I felt a sensation of something in my breast actually move, and it was deep,” she says, speaking from her home in Brighton.
“Something fluidy, a very odd sensation. I woke up and made a doctor’s appointment.”
Sophie underwent an ultrasound followed by a biopsy before she was taken to a room in the clinic and offered water.
“They said, ‘a hundred percent, we believe you have breast cancer’.”
But it was the phone call with her mother that made it feel real.
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“My mum had been waiting at home. She phoned me and said ‘How is it darling?’ and I said ‘I’ve got breast cancer,’ and it was just that moment of having to say it out loud for the first time and that’s when that part of my life suddenly changed.”
Sophie says terminal cancers can leave patients dreading the thought of suffering at the end of their lives.
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“What I don’t want to be is in pain,” she says. “If I am facing an earlier death than I wanted then I want to be able to take control at the end.”
Assisted dying, she believes, gives her control: “It’s an insurance policy to have that there.”
Disability rights advocate Lucy Webster warns that for people like Sophie to have that choice, others could face pressure to die.
“All around the world, if you look at places where the bill has been introduced, they’ve been broadened and broadened and broadened,” she tells Sky News.
Lucy is referring to countries like Canada and Netherlands, where eligibility for assisted deaths have widened since laws allowing it were first passed.
Lucy, who is a wheelchair user and requires a lot of care, says society still sees disabled people as burdens which places them at particular risk.
“I don’t know a single disabled person who has not at some point had a stranger come up to us and say, ‘if I were you, I’d kill myself’,” she says.
The assisted dying bill, she says, reinforces the view that disabled lives aren’t worth living.
“I’ve definitely had doctors and healthcare professionals assume that my quality of life is inherently worse than other people’s. That’s a horrible assumption to be faced with when [for example] you’ve just gone to get antibiotics for a chest infection. There are some really deep-seated medical views on disability that are wrong.”
Under the plans, a person would need to be terminally ill and in the final six months of their life, and would have to take the fatal drugs themselves.
Among the safeguards are that two independent doctors must confirm a patient is eligible for assisted dying and that a High Court judge must give their approval. But the bill does not make clear if that is a rubber-stamping exercise or if judges will have to investigate cases including risks of coercion.
Julian Hughes, honorary professor at Bristol Medical School, says there’s a very big question about whether courts have the room to take on such a task.
“At the moment in the family division I understand there are 19 judges and they supply 19,000 hours of court hearing in a year, but you’d have to have an extra 34,000,” he explains.
“We shouldn’t fool ourselves and think that there wouldn’t be some families who would be interested in getting the inheritance rather than spending the inheritance on care for their elderly family members. We could quickly become a society in which suicide becomes normalised.”