Friday, 25 March 2016

Photos of the New Old Kentish Market, the Books, the Seesaw in Turner Contemporary, Dreamland, Some Painting, Then and Now all in bank Holiday Margate.

Good Friday being a Bank Holiday and being replete with Hot Cross Buns, my children – for some inexplicable reason – wanted to drive dodgem cars at Dreamland. Obviously I tried reasoning with them, suggesting outings of an educational of possibly theological nature, but for some reason my reason failed to prevail.

 A lot of pictures in this post, clicking on them frantically will make them bigger.
 I really can't see the atraction
 Fun they said, I mean, to say. What is fun?
 OK proper quoth, er um, quote - the caps are Death's leaden voice and the quote Terry Pratchett:-
'I thought I was,' said his lordship uncertainly. The voice by his ear was vaguely worrying him; it appeared to be arriving directly into his brain.
'This is!'
'Well, part of the fun. Kick!'
I inadvertently added a photo from an old blog post to FaceBook and had to do some explaining about the nature of Margate 
 Note the red line round the building in about 1870
Note the red line round the same building today, I should have stood on the left of the path, but didn't, note to self to try harder.

Wrong posts same kidney.
Oh well
 New Old Kentish Market, open today
 See inside - the mobile phone camera is not really the best for this type of photography

 you need a wide
 or a tall attachment

 or perhaps a big lens

on to art 
Well actually painting in Turner Contemporary Cafe 

 While eating

 Two new exhibitions in the gallery
 Shonibare’s The British Library, a colourful work, celebrating and questioning how immigration has contributed to the British culture that we live in today. Shelves of books covered in colourful wax fabric fill the Sunley Gallery, their spines bearing the names of immigrants who have enriched British society. From T.S. Eliot and Hans Holbein to Zaha Hadid, The British Library reminds us that the displacement of communities by global war has consequences that inform our lives and attitudes today.

 And Shonibare’s newest sculptural work End of Empire explores how alliances forged in the First World War changed British society forever, and continue to affect us today. The new work features two figures dressed in the artist’s signature bright and patterned fabrics; their globe-heads highlighting the countries involved in the First World War. Seated on a Victorian see-saw, the entire work slowly pivots in the gallery space, offering a metaphor for dialogue, balance and conflict, while symbolising the possibility of compromise and resolution between two opposing forces.

 I think I prefer the The British Library

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