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.
V&A East Museum in Queen Elizabeth Olympic Park. Pic: Victoria & 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.”
‘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.
Dystopia to Utopia performance. Pic: V&A/Antony Jones
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.
Entertainment
Sherlock star Benedict Cumberbatch’s ‘very odd job’ – acting opposite an enormous bird in The Thing With Feathers
He’s played Sherlock Holmes, Doctor Strange, and even voiced The Grinch but acting opposite a seven-foot (2.1m) crow may be one of the strangest roles Benedict Cumberbatch has taken on.
Speaking about his new film, The Thing With Feathers, he admits it’s “a very odd job, there’s no getting away from it”.
If the vision of Cumberbatch wrestling with a giant bird sounds like the sort of amusingly surreal movie you fancy taking a look at next week, it’s important to understand that this is no comedy.
Pic: The Thing With Feathers/Vue Lumiere
Pic: The Thing With Feathers/Vue Lumiere
While the film, based on Max Porter’s eclectic novella Grief Is The Thing With Feathers, the film is at times disturbingly funny, but mostly it is an incredibly emotional take on the heartbreaking way we all process grief.
Cumberbatch plays a man whose wife has died suddenly, leaving him with their two young boys. The story itself is split into three parts – dad, boys and crow.
Crow – voiced by David Thewlis – is a figment of dad’s imagination, a sort of “unhinged Freudian therapist” for him, according to Porter.
Cumberbatch, a father of three, said this certainly wasn’t a role he wanted to think about when he returned to his own family each night.
“I didn’t take it home, I didn’t talk about it…You have to work fast when you’re a father of three with a busy home life, you know, it’s very immediate the need they have of you, so you don’t go in and talk about your day crying your eyes out on a sofa with a crow punching you in the face.”
Benedict Cumberbatch in The Thing With Feathers. Pic: Vue Lumiere
Since Porter’s award-winning work was first published in 2015 it has built a cult following.
Using text, dialogue and poetry to explore grief from various characters’ perspectives, the author says the subject matter is universal.
“Most of us are deeply eccentric in one way or another, like my father-in-law, apparently a very rational, blokey bloke, who’s like ‘when my mum died, a wren landed on the window and I knew it was my mum’.
“Grief puts us into these states where we are more attuned to the natural world and particularly more attuned to symbols and signs. So, imagining a crow moving in with the family actually makes a lot of sense to people, whereas, weirdly, five steps to getting better or get well soon or a hallmark card or whatever doesn’t make much sense to the people when you’re in that storm of pain.”
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While the film sees Cumberbatch portray a firestorm of emotions, he says he feels it’s important to tackle weighty issues on screen.
Benedict Cumberbatch
Max Porter
“It is a universal experience, in one way or another you’re ‘gonna lose someone that you love during your life.”
The film, he says, explores grief through a male prism.
“At a time when there’s a lot of very troubling influences on men without female presence in their lives, this thing of scapegoating and seeing the other as a threat, all of that comes into play within the allowance of grief to be a messy, scary, intimidating, chaotic, unruly and out of control place to exist as a man.
“This is a film that just leans into the idea that it’s alright to have feelings, you bury them or hide them at your peril.”
The Thing With Feathers is out in cinemas in the UK and Ireland on 21 November.
Entertainment
‘I felt really scared and I felt alone’ – Wicked star Jonathan Bailey on growing up gay in school
“I felt scared and I felt alone and I felt entirely limited at various points in my life”, actor Jonathan Bailey says of growing up gay in school.
While promoting Wicked: For Good, the actor donated one of his interview slots to talk about the charity he is a patron of: Just Like Us, which works with LGBT+ youth in schools.
“That’s something that I would have really benefited from when I was young,” he said, talking exclusively to Sky News about his charitable work.
In surveys of thousands of UK pupils, Just Like Us found that LGBT participants aged 11 to 18 were twice as likely to suffer anxiety, depression and to be bullied, and that only half felt safe at school on a daily basis.
“I experienced all of that,” he said. “It became clear quite early on that something that was very specific and clear to me about who I was, it wasn’t safe and it wasn’t celebrated.”
Whether as Lord Anthony in Bridgerton, being crowned sexiest man alive and as the Winkie Prince Fiyero in Wicked: For Good, Bailey has broken through an outdated stereotype.
Historically, it was considered a career risk to be out – a heterosexual romantic lead’s career was at risk if his sexuality was public.
For the Winkie prince actor, education can play a role in defying limitations.
While promoting Wicked: For Good, Bailey talked about a charity that works with LGBT+ youth in schools.. File pic: Just Like Us
“This is beyond sexuality,” he said, “it’s race, it’s class, it is where you’re from, we are all given limiting narratives that we have to break free of.
“I thought not only was I not going to be able to play these sorts of parts because of my sexuality, but that I wouldn’t be able to do Shakespeare because I didn’t go to drama school.
“They’re the sort of stories that we need to be reminded of is that actually standing up and being safe enough to be able to say who you really are, and to be vulnerable at that age… these formative years, is inspiring to everyone in the classroom.”
But classrooms in the UK are facing tightening budgets due to “spiralling costs” that threaten to outstrip the growth in school funding.
Citing budget and time pressures on teachers, Just Like Us has made its talks free in schools. Does the actor think the government should be doing more?
He said: “I’m a very proud brother of an incredible teacher who works in the state system, and I know how much she cares about her school, her pupils.
“The resources are being crunched, and the problem is that it will be the arts and it will be really important conversations that Just Like Us bring into the schools and these… things that are going to go, and that’s just really sad.
“But I’m not the person to come up with solutions other than I can do my bit.”
Bailey, Cynthia Erivo and Bowen Yang are among Wicked’s LGBT cast, and in Wicked: For Good, openly gay actor Colman Domingo joins them as the voice of the Cowardly Lion.
But not everyone is encouraging the onscreen representation: A “warning” by conservative group One Million Moms said that the Jon M Chu-directed films are “normalising the LGBTQ lifestyle” to children and takes aim at the cast.
The alert urges people to boycott the sequel “even if you have seen Wicked: Part One”.
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When asked about the pushback, Bailey is resolute: “I don’t even acknowledge… the thing that’s important to me is how do I chat to little Johnny in all this.
“I’m thrilled to be living in a time where I can play the Winkie Prince and where Just Like Us is doing the extraordinary work that they’re doing.”
Entertainment
Donald Trump confirms he will sue the BBC over Panorama edit – despite broadcaster’s apology
Donald Trump has said he will sue the BBC for between $1bn and $5bn over the editing of his speech on Panorama.
The US president confirmed he would be taking legal action against the broadcaster while on Air Force One overnight on Saturday.
“We’ll sue them. We’ll sue them for anywhere between a billion (£792m) and five billion dollars (£3.79bn), probably sometime next week,” he told reporters.
“We have to do it, they’ve even admitted that they cheated. Not that they couldn’t have not done that. They cheated. They changed the words coming out of my mouth.”
Mr Trump then told reporters he would discuss the matter with Prime Minister Sir Keir Starmer over the weekend, and claimed “the people of the UK are very angry about what happened… because it shows the BBC is fake news”.
The Daily Telegraph reported earlier this month that an internal memo raised concerns about the BBC’s editing of a speech made by Mr Trump on 6 January 2021, just before a mob rioted at the US Capitol building, on the news programme.
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BBC crisis: How did it happen?
The concerns regard clips spliced together from sections of the president’s speech to make it appear he told supporters he was going to walk to the US Capitol with them to “fight like hell” in the documentary Trump: A Second Chance?, which was broadcast by the BBC the week before last year’s US election.
Following a backlash, both BBC director-general Tim Davie and BBC News chief executive Deborah Turness resigned from their roles.
‘No basis for defamation claim’
On Thursday, the broadcaster officially apologised to the president and added that it was an “error of judgement” and the programme will “not be broadcast again in this form on any BBC platforms”.
A spokesperson said that “the BBC sincerely regrets the manner in which the video clip was edited,” but they also added that “we strongly disagree there is a basis for a defamation claim”.
Earlier this week, Mr Trump’s lawyers threatened to sue the BBC for $1bn unless it apologised, retracted the clip, and compensated him.
The US president said he would sue the broadcaster for between $1bn and $5bn. File pic: PA
Legal challenges
But legal experts have said that Mr Trump would face challenges taking the case to court in the UK or the US.
The deadline to bring the case to UK courts, where defamation damages rarely exceed £100,000 ($132,000), has already expired because the documentary aired in October 2024, which is more than one year.
Also because the documentary was not shown in the US, it would be hard to show that Americans thought less of the president because of a programme they could not watch.
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Sky’s Katie Spencer on what BBC bosses told staff on call over Trump row
Newsnight allegations
The BBC has said it was looking into fresh allegations, published in The Telegraph, that its Newsnight show also selectively edited footage of the same speech in a report broadcast in June 2022.
A BBC spokesperson said: “The BBC holds itself to the highest editorial standards. This matter has been brought to our attention and we are now looking into it.”
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