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.
More from Ents & Arts
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.”
Advertisement
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.
Footage of the moment 10-year-old Sara Sharif’s alleged killers were detained after police boarded their plane back to the UK has been played in court.
As they are approached by officers, Sara‘sstepmother Beinash Batool is heard saying: “I think you’re looking for us.”
Batool, 30, Sara’s father Urfan Sharif, 42, and uncle Faisal Malik, 29, are accused of carrying out a campaign of abuse against her culminating in her death at her family home in Surreyon 8 August last year.
The defendants, along with five of Sara’s siblings, aged between one and 13, flew to Pakistanthe following day.
Sara’s body was found by police in a bunkbed on 10 August after Sharif called police from Pakistan to say he had beaten her “too much” for being “naughty”.
A murder investigation was launched involving agencies including Interpol and the National Crime Agency to locate the defendants.
More on Sara Sharif
Related Topics:
They returned to the UK on a flight from Dubai to Gatwick Airport on 13 September.
Please use Chrome browser for a more accessible video player
2:38
‘I beat her up too much’
The clips of officers’ body-worn video shown to the jury on Friday captured the moment police boarded the plane and detained the defendants at 7.42pm, seven minutes after touchdown.
After Batool addresses the officers, Sharif, who had been sitting next to her, is asked to follow them.
The three were then taken off the plane and arrested.
A post-mortem examination established Sara had sustained extensive and significant injuries over a sustained period prior to her death.
The jury heard on Friday how concerns were raised by Sara’s school about bruising on her body in June 2022 and March 2023.
Several items seized from Sara’s home were also reviewed by the court, including a leather belt which had full DNA samples at both ends for Sara, Sharif, and Malik.
A cricket bat was also found to have Sara’s DNA profile on it, along with the DNA samples of Sharif and Malik.
Neither item had a DNA trace of Batool.
The court also reviewed the defendants’ bank accounts – both joint and separate.
All three defendants have pleaded not guilty to murder and causing or allowing the death of a child.
Six teenagers have been arrested after a 13-year-old girl was found with multiple stab wounds on a roadside near Hull.
Police said she was found around 6.50am on the A63 in Hessle with “life-threatening injuries” including “lacerations to her neck, abdomen, chest and back”.
Four boys and two girls – aged between 14 and 17 – were quickly arrested in a nearby wooded area and are being questioned on suspicion of attempted murder.
Members of the public came to the girl’s aid before emergency services arrived, Humberside Police said.
Detective Superintendent Simon Vickers said they “believe the attackers knew the victim” and the circumstances are still being investigated.
“The girl remains in hospital in critical condition and her family are being supported by officers at this difficult time,” he added.
The boys arrested are aged 14, 15, 16 and 17, and the girls 14 and 15.
Cordons are in place around a wooded area off Ferriby High Road while investigations continue.
Police said they would have an increased presence in the area over the weekend and have asked anyone with information or video to get in touch, or contact Crimestoppers anonymously.
A former soldier has told a jury his escape from Wandsworth prison to avoid being held with sex offenders and terrorists showed his “skillset”.
Daniel Khalife, 23, who was being held accused of passing secrets to Iran said he was “never a real spy” but planned a fake defection to the state following his arrest after watching American television show Homeland.
He said he wanted to be moved to a high-security unit because he was getting unwanted attention from the sex offenders on the vulnerable prisoners wing and feared a move to Belmarsh prison because, as a British soldier, terrorists wanted to kill him.
Khalife said he first wanted to “make a show” of escaping, acting suspiciously and covering himself in soot from a food delivery lorry on 21 August last year, while he was working in the prison kitchen.
He was spotted and reported to security but was “pretty shocked” when nothing happened so decided to take the “full measure,” he told the jury.
Talking about his escape for the first time at his Woolwich Crown Court trial, Khalife told how he fashioned a makeshift sling from kitchen trousers and carabiners used by inmates to keep their possessions safe from rats.
He attached it to the Bidfood lorry on 1 September last year, to see if it would be spotted by officers at Wandsworth or other prisons on the delivery route.
“I put the two carabiners and the makeshift rope underneath the lorry,” he said.
“When I had made the decision to actually leave the prison I was going to do it properly so I tested the security not just in Wandsworth
Advertisement
“Strangely, over the coming days, I could see it but it wasn’t spotted in Wandsworth or any other prison.”
Then on the morning of 6 September, Khalife said he concealed himself underneath the lorry, resting his back on the sling as the lorry was searched.
“They did normal checks around with torches but they didn’t find me. After that, a governor came to the tunnel and said, ‘Have you searched the vehicle?’
“I was facing upwards. There was action around the lorry.”
He said that when the vehicle stopped he “came out underneath the lorry and stayed in the prone position” until the lorry moved off.
Khalife, who joined the Army aged 16 and took up a post with the Royal Signals, based in Beacons barracks, Staffordshire, said he made no attempt to leave the country and had no intention to “run away” from the charges he was facing.
He was arrested three days later on the footpath of the Grand Union Canal in Northolt, west London, after a nationwide manhunt.
Asked why he had not handed himself in after his escape, Khalife said: “I was finally demonstrating what a foolish idea it was to have someone of my skillset in prison. What use was that to anyone?”
“I accept that I left the prison and didn’t have any permission to do so,” he said. “I accept absolutely that I shouldn’t have done what I did.”
Inspired by Homeland
The court has heard Khalife initiated contact with Iranian intelligence officers after he was told he could not pass developed vetting because his mother was born in Iran.
Khalife told MI5 he wanted to be a “double agent” and he said in court he thought he would be “congratulated” but described his arrest as like a “punch in the face”.
Wearing a blue checked shirt and chinos, he said police were “blinded at the prospect of a successful prosecution” but he did not think being in prison would be in “the public interest”.
“I didn’t do anything that harmed our national security. I wanted to put myself in a position where I could help my country,” he said.
“I believed I could continue my work actually located in the state – the state being Iran.”
Khalife said he took inspiration from watching Homeland, starring Claire Danes and Damian Lewis, in which Americans and terrorists go undercover, on Netflix.
“I had seen one of the characters in the programme had actually falsely defected to a particular country and utilised that position to further the national security interests of that character’s country,” he said.
“The country in question, Iran, thought it was real. She did it to further the interests of her own country.”
Khalife told jurors he is a “patriot”, adding: “I do love my country. All I wanted to do was help. I never wanted to do any harm, I never did do any harm.”
He added: “It is tragic it has come to this and I would do anything to go back to my career.”
Khalife, from Kingston, southwest London, denies a charge of committing an act prejudicial to the safety or interests of the state under the Official Secrets Act between 1 May 2019 and 6 January 2022.
He has also pleaded not guilty to a charge under the Terrorism Act of eliciting information about Armed Forces personnel on 2 August 2021, perpetrating a bomb hoax on or before 2 January 2023 and escaping from prison on 6 September last year.