Nuanced: George Clooney and Shailene Woodley in the Descendants

It has been seven years since Alexander Payne last donned his directorial hat for a major motion picture, namely the offbeat and existential yarn, Sideways. Payne received an Oscar for Sideways (it took home the gong for Best Adapted Screenplay) and seven years on, he has struck the right chord again with The Descendants, which is currently awash with awards and nominations.

If the film is going to spoil Oscar night for The Artist and turn Jean Dujardin’s expressive eyebrows into a frown, then it is likely to be in the Best Performance by an Actor in a Leading Role category. The Descendants is certainly a moving and often amusing movie, but it is George Clooney who elevates it to award-winning level.

This has been described as a role that Clooney was ‘born to play’, in which he delivers a ‘career-best’ performance. Suave quick-wittedness, tinged with quirky intensity, is the blueprint for what has made the 50-year-old one of the most consistently watchable actors in Hollywood and he has taken it all down a notch to serve up a world-weary version in his character Matt King, whose charm, energy and humour have been eroded by the life’s pressures.

We are introduced to Honolulu lawyer Matt as the sole trustee of a multi-million dollar plot of land – passed down by many generations linking back to an indigenous Hawaiian lady – the sale of which is up for tender and under-discussion amongst many family members, after long-running negotiations. However, the father-of-two is suffering huge emotional drain with his wife in coma after a speedboat accident and the backseat father is struggling to get to grips with the responsibility of looking after his two daughters; 10-year old Scottie (Amara Miller) and typically-troublesome teenager Alex (Shailene Woodley).

Aside from the obvious trauma involving the kids’ mother, Elizabeth (Patricia Hastie), the main premise of the film explores the notion that having assets, money and living in an idyllic setting does not directly equate to happiness. Life’s cruel afflictions and family matters can make or break an individual’s contentment in the blink of an eye.

It is implied that, before the accident, Elizabeth and Matt have drifted apart and pulled in different directions: her as the thrill-seeking woman with a lust for life and him with his head in his work and land renovation proposals, letting the Hawaiian paradise pass him by.

Coinciding with his wife’s condition reaching a sadly hopeless state, Matt finds out that she had been having an affair and the story accelerates as Matt’s eyes are finally open and the bigger picture becomes clearer to him, in regard to his kids, the condition of his pre-accident marriage and the land he is on the verge of selling. A mission to track down the man who had been sleeping with his wife ensues, giving him a purpose amidst the hopelessness and an anger-fuelled distraction from the sadness of his predicament.

With his two newly-supportive daughters and the elder’s bluntly-honest stoner friend, Sid (Nick Krause), in tow, the mission in not just a journey toward the painful truth of the affair and the man at the heart of it, but an awakening for Matt and a route to re-engaging with his daughters and finding contentment beyond the imminent grief.

Maybe the fact the Clooney does not have kids has helped the convincing awkwardness of his hapless, but quick-learning father character, but he nails it with subtle expressions, pauses and evocation of desperation. Woodley also deserves a mention for her emotive role portraying the temperamental older daughter, revelling in the new-found bond with her forlorn father.

The Descendants is an understated and perceptive piece of filmmaking, focusing the lens on the how people deal with events thrust upon them, rather than the events themselves, and demonstrating how quickly priorities change.

The Descendants (15)
Directed by Alexander Payne
Starring: George Clooney, Shailene Woodley, Beau Bridges, Judy Greer, Robert Forster, Amara Miller, Nick Crause, Patricia Hastie.
Running time: 115 minutes

The Descendants is showing at the Rio Cinema until Thursday 9 February and across London throughout February.

Zoe and her devoted dog Beans. Illustration: Mick Inkpen

The story of The Magic Hoop is one of the Zoe and Beans series.

It is a lovely book and has delightful illustrations that any child could see what they are meant to be.

The story is about a girl called Zoe and her dog Beans. They are good friends and have lots of fun together.

Zoe is a very different character to Beans. She is happy and always excited. Beans, on the other hand, is lazy and quite shy.

One day Zoe finds a hoop. They find out together that the hoop is a magic hoop. Read the book to find out what happens next.

I really like the fact that this book is written by a father and daughter. I think that it is a very inspiring thing to do with your parent.

Impressed: Róisín and Séamus Glancy

I read this book to my younger brother Séamus, who is aged four. He enjoyed it very much and gave it a score of 13 out of ten.

I liked it too and think it would be good for both boys and girls aged 3-6 years. It made me laugh and it was very compulsive. I hope you enjoy it as much as we did.

I live with my family in Clapton very close to The Bookbox book shop. Last year I won The Bookbox’s story writing competition and was presented with my prize by a famous author.

My favourite author is Jacqueline Wilson and I adore her books to bits. I have two brothers, Fionn and Séamus.

–

Chloe Inkpen is a local author who creates her children’s book series Zoe and Beans in her studios in Hackney. Chloe works on it alongside her father, Mick Inkpen, the famous creator of Kipper and Wibbly Pig.

Deeply buried: Shame

London-born director/screenwriter Steve McQueen has followed up his debut feature – 2008’s Bafta-nominated Hunger – with another hard-hitting movie experience in this sexually-charged study of obsession.

If it wasn’t for the stiff competition this year, McQueen’s stark and moving film, Shame, about two very troubled siblings in New York, surely would have done more damage in this year’s award season. However, Michael Fassbender – who also stars in Hunger – did earn a Golden Globe nomination for his role as Brandon, a sex-addict and commitment-phobe whose unorthodox lifestyle is unsettled when his frantic and fragile sister, Sissy (Carey Mulligan), turns up at his flat uninvited and in need of a place to stay.

Combine two of Hollywood’s up-and-coming stars, in Fassbender and Mulligan, with an absorbing script and some daring (and often nude) performances and you have a compelling hour and a half of cinema.

If New York is the “city that never sleeps”, then these two young people are as restless as their surroundings. Part-time club singer Sissy is a free spirit, who seems to have moved from city to city since the pair last met. Meanwhile, Brandon has developed an obsessive and incessant no-strings-attached sexual appetite.

Despite his surface-level appearance as a successful young bachelor – he is good-looking, has a top city job and seems to possess a weirdly seductive charm – deeper down resides a desperate and anxious man, who for some reason is struggling to connect with women in a way that allows him to forge relationships.

Brandon spends an unhealthy amount of time gratifying his sexual needs by ordering call-girls to his flat, masturbating with a kaleidoscopic range of porn material (both at home and at work) and picking up loose women in bars for one-night stands.

However, his compulsion is at least self-contained – that is until his sister arrives. This is when the feeling of shame rears its ugly head and becomes a burden on him; something which he also believes his attention-seeking and self-harming sister to be.

Sissy is needy and in Brandon’s fury he is only too eager to point this out. She is indeed a girl in need, but as Brandon is trying to deal with his own problems, he is not ready to face his responsibilities to her and the emotional baggage she brings.

After initially seeing the glitz of the Big Apple, we soon see the less glamorous side of Manhattan, as both Brandon and Sissy are being sucking into its sewer and Sissy’s cry for help needs to be answered if she is to survive. It should serve as a wake-up call for Brandon, but he is reluctant to face up to reality.

It is implied that there is an unseen back-story that has led to the character defects that are eating away at our two protagonists, but we are essentially left guessing as to what this might be and whether they can ever get their lives back on track, but it is clear that they need to help each other before it is too late.

Fassbender and Mulligan are wholly convincing in their visceral roles – the former delivers an intense performance that recalls Christian Bale at his best – and McQueen deserves to be spoken about as one of the best new British filmmakers, alongside the likes of Duncan Jones (Moon and Source Code).

Shame (18)
Directed by Steve McQueen
Starring: Michael Fassbender, Carey Mulligan, James Badge Dale
Running time: 101 minutes

Shame is showing at the Rio Cinema until 26 Jan and at the Hackney Picturehouse and Rich Mix until 2 February.

Otherwordly: Patience (After Sebald). Photograph courtesy of Soda Pictures

“Right now I’m standing opposite Spitalfields Market. I’m looking at a site that is extremely old, and yet all those deeper layerings are obscured. You have to seek them out.”

Gareth Evans is not simply describing his surroundings to me. Instead the art curator is referring to his long-standing interest in the relationship between people and place.

It is a relationship he has explored in numerous projects through the organisation Artevents, culminating in the forthcoming film Patience (After Sebald).

Directed by Grant Gee and co-produced by Evans, the film is inspired by W.G.Sebald’s The Rings of Saturn, a book that shares his fascination with the link between man and his surroundings.

Both the book and the film trace Sebald’s journey by foot along the Suffolk coast. It is “a walk through all sorts of different themes that are prompted by the locations and encounters he has,” says Evans.

“What’s amazing about Sebald’s work is that you can move from a B&B in Lowestoft to the Belgian Congo, to the Voyager space probe in the space of couple of pages. Then you find yourself back in the B&B in Lowestoft.”

It is this sense of escapism via a stream of consciousness that makes the book uniquely un-filmable in one sense, and Evans admits that it was “very challenging conceptually to translate it into a moving image form.”

Despite these obstacles, Patience does an impressive job of capturing the spirit of the book by splicing footage of Gee re-tracing Sebald’s coastal footsteps alongside interviews with an array of artists and authors discussing its themes and continuing influence. The end result is “a hybrid work that sits between aspects of documentary and art film and an embodiment of the book” narrated by film buffs’ favourite, Jonathan Pryce.

For Sebald, identity was an uncomfortable issue and I wonder how far the film goes in shedding light on the writer as an individual. While Evans is keen to point out that the film is not intended as a straightforward biopic, “you can’t help but bring in aspects of the biography, specifically the move from Germany to England.”

He refers to the German author’s “self-imposed exile” from his motherland, an attempt to “find distance from a country where he found himself profoundly compromised in relation to its history. Not only to what it did during the second world war, but how it dealt with it afterwards.”

Like the book, Patience tackles such disparate themes as the holocaust, the legacy of slavery and the space race, all connected by the places that Sebald visits. It is this awareness of the significance of his surroundings that attracted Evans to the idea of making a film about the author.

What excites him about the concept of “place” is that “it’s not somewhere that stays on the page or on the screen, it really does spill out into the world. Everybody has their own story of place. Everyone has their own journey through the world.”

Evans’ own story of place is set in Hackney, a borough where has spent almost his whole life. “Hackney has always been an anchorage point for my relationship with the city, the country and beyond,” he says. “There’s no question there’s a huge energy in Hackney.”

From his base at the Whitechapel Gallery, Evans is perfectly positioned to continue to explore this energy through further films, and help us all find our own place in the world.

Patience (After Sebald) is released by Artevents on Friday 27 January

TOY: The Shacklewell Arms played host to yet another thrilling band from Hackney

TOY made the walls of the Shacklewell Arms’ shiver on Wednesday night with their psychedelic punk rock.

The five-piece band are the latest local outfit to make it to the pages of the NME and are lauded by the music paper as one of the 20 most exciting new bands of 2012.

Swimming in blue light, with Greek-profiled singer Tom Dougall staring coldly out in the audience, they show that they have a coherent sound.

Charlie Salvidge plays his drums with unexaggerated passion and bassist Maxim Barron proves his skills during ‘Clock Chime’. Unfortunately, the same song doesn’t do singer Tom any favours – he can barely be heard.

Formed in 2010, and consisting of four guys and one girl – all equally long-haired – they accompany their great music with reverb and slight banging of their heads.

The best moments during the eight-song concert are the instrumental breaks.

The sound of TOY literally explodes during the vocals free interlude in the last song, ‘Left myself behind’ – leaving the audience in awe. It’s amazing, and will surely contribute to the band making it all the way to the top.

Hofesh Shechter and Antony Gormley, Survivor, 2012. Photograph: Tom Medwell

A collaboration between such heavyweights as the British sculptor Antony Gormley and Israeli-born choreographer/composer Hofesh Shechter was always going to be an eagerly anticipated event. Anticipation, however, can be a double-edged sword, and it is probably due to the unrealistically high expectations of this performance, that it seemed ultimately rather lacklustre.

Survivor, which premiered at the Barbican Theatre yesterday (Thursday) night, is built around Shechter’s 75-minute composition, which features a dozen string musicians, and over a hundred crimson-clad drummers. Added to this mix are a troupe of six dancers, who act as living versions of Gormley’s famous sculptures, albeit often in a more animated state.

Gormley’s aesthetic contributions far outweigh Schechter’s musical and choreographic accomplishments. The ‘sculptural’ element is evident from the very start, when we are presented with a line of performers, each lit by a lantern swaying above their heads, becoming objects of focus in and of themselves. The human form seems vulnerable and exposed within the cavernous space of the Barbican theatre, only ever looking secure when amongst a throng of other bodies.

There was a consistent sense of discovery throughout the performance. Discovery of different spaces, such as underneath the stage, in the rig and among the audience, and discovery of different perspectives. A piece which involved the dancers writhing on the floor with cannonballs was transformed by a live video being simultaneously projected onto a vertical screen, creating an effect which has strong resonances with torture and physical torment.

There were humorous elements within this bleak landscape, particularly when Schechter employed his handheld camera to project images of the audience or the performers on to the gargantuan white screen. A distorted version of God Save the Queen by the drummers was also a somewhat light-hearted moment, although this too was put into perspective by the austere string version with which it was followed.

Overall, it was a lack of cohesion which prevented this collaboration from being truly engaging. Despite providing individual moments of powerful visual and sensory art, as a unit, the performance never seemed to form a coherent tone. Perhaps this was the intention, but it is a surprising choice, especially for Gormley, who is usually unparalleled as an articulator of his art.

Survivor is at the Barbican until 14th January.

Don't worry: be happy

In the end, even pop psychology flows from Freud. It was the father of psychoanalysis who so eloquently described how our forebears banded together in the service of that most primitive of industries, agriculture. They diverted their energies away from satisfying primeval instincts and ploughed them into a project: civilisation.

Fast forward thousands of years and many of us are employed in office jobs, but the psychological mechanisms at work are no less powerful. They can crush our creativity and corrode individuality.

Or as Professor Julian Birkinshaw of the London Business School puts it in his foreword to longtime Stoke Newington resident Henry Stewart’s book The Happy Manifesto: “The vast majority of workplaces are stultifyingly dull. The physical surroundings are drab. Many jobs are designed to be as repetitive and soulless as possible. Fear is endemic. Many bosses, as Stanford’s Bob Sutton would say, are assholes.”

Happy Manifesto author Henry Stewart. Photograph: Miriam Stewart

Mr Stewart, an entrepreneur and the chair of governors at Stoke Newington School, passionately believes it doesn’t have to be like this. Not only that, he insists companies can boost their productivity by being pliant to their employees’ wishes and removing obstacles that hamper their enjoyment at work: “Imagine a workplace where people are energised and motivated by being in control of the work they do,” he says. “Imagine they are trusted and given freedom.”

His book contains many useful, practical suggestions for heads of organisations, many drawn from his own experience as chief executive of the training company Happy Ltd, which he founded as Happy Computers in his back room in Hackney in 1988. The company now trains 20,000 people a year and has been widely commended both for the way it treats its personnel and for its work in the community.

Stewart dislikes excess rules. His manifesto calls for a less intrusive form of management. Managers, he says, often get in the way. Their desire to have ‘sign off’ on decisions, however well intentioned, can damage workers’ self-esteem. Give people the tools to make decisions themselves, and information such as the budget for a project, and they will find solutions just as effectively as more senior staff.

Another thing that gets Stewart’s goat is the unbending stance most companies take towards staff working specific hours. Who says the company’s routine will suit everyone? And if it doesn’t, are some people working less effectively than they might otherwise?

Stewart gives the example one of his employees who would always roll in for work exhausted on a Monday morning after going clubbing the previous night. Instead of giving the young scenester a slap on the wrist for letting his social life damage his effectiveness and rigidly insisting that he show up for work at precisely the same time as his more sober colleagues, Stewart agreed to the reveller working a shorter day on Monday by arriving later and making up the hours on other days when he was less tired. If only all bosses were this accommodating!

The importance of Corporate Social Responsibility (CSR) is another theme of the book, and Stewart insists that companies’ involvement in communities should make a genuine difference.

He recalls giving a talk at a conference about CSR: “As I looked around the room, I saw companies which I knew treated their staff badly,” he writes. “I saw companies whose core product was bad for people and bad for the environment. And I saw one company who spent far more on advertising the good work they did than on the good work itself. I am reminded of a cartoon in a UK newspaper which showed a huge mining company despoiling the earth, but their protective helmets were made from recycled plastic.”

His slim volume ends with a call to arms, a kind of “Bosses of the world, unite!”, and the hope that more companies will learn from major corporations such as John Lewis, WL Gore and Google, which Stewart says put the happiness of their workers at the heart of what they do.

But Stewart’s is a brave new world and one suspects that for too many workers Sunday night will continue to be a time of great foreboding.

The Happy Manifesto by Henry Stewart is published by Happy, priced £9.99.

Perfect: Jean Dujardin and Bérénice Bejo as George and Peppy in The Artist. Photograph: Warner Bros

Showered with critical acclaim, nominated for the upcoming Golden Globe Awards (at time of writing) and tipped for Oscar success, The Artist hit the UK screens with a rush of hype – as do many films released in ‘award season’.

However, this is quite a feat for an almost exclusively silent picture in an age where CGI and 3D are continually breaking new ground and new box-office records. This nostalgic piece of work reminds the cinema-goer that what makes a truly inspiring film is one with honesty, chemistry, captivating performances and a story that makes you feel something.

The Artist is all that and more and is an extremely audacious picture to make – filmed entirely in black and white and sticking to the trademark use of wobbly subtitled shots cut within the action, as in the1920s silent classics.

Relative unknown (outside his country of birth) to the masses, French director Michel Hazanavicius more than compensated for the lack of voices, as his cast’s movement and expressions are electrifying.

The film is also driven by the glorious use of dramatic music from legendary composer Bernard Herrmann – famous for his scores in Hitchcock movies. In fact, since the release of The Artist, iconic actress Kim Novak has launched a scathing attack on the filmmakers for ‘stealing’ the music from Vertigo and ‘violating’ her ‘body of work’.

There is no crime in the use of Herrmann in this picture and it serves to build great suspense and drama, as well as letting the cast’s action really leap off the screen and it works perfectly in conjunction with the many raised-eyebrow stares and Hollywood smiles, most abundantly expressed by the captivating lead male, Jean Dujardin.

Dujardin – who won the Best Actor Award at last year’s Cannes film festival for this performance – plays silent-film superstar George Valentin, who can clearly sell The Kinograph studio’s various and frequent flicks by his pencil moustache and warm (but cheeky) Clark Gable-style smile alone.

He is loved and adored and appears to be a star burning brightly, without a care in the world. John Goodman is entertaining in the role of Al Zimmer, a larger-than-life and cigar-smoking movie director, who himself is even taken aback by some of the limelight-bathing antics of his big star.

But that is who George Valentin is in this film: a true movie star of his time. However, as the 20s come to an end and the 30s begin, Valentin’s world is soon turned upside by the arrival of cinema’s new technological age: the age of talking pictures.

Our star is not impressed by the emergence of the ‘talkies’ and turns his back on the new format, instead making it clear he is an ‘artist’ and that he doesn’t want to effectively sell-out. He stubbornly goes his own way, flying the flag for the non-speaking films, going against the grain and treading a lonely path, albeit with his regular canine co-star, his talented and loyal dog (played by the expertly-trained Uggie).

Inevitably, it is not long before he gets left behind and begins to enter an alcohol-infused and financially-crippling fall from grace. Is there hope for the master of a dying art?

This in itself is engaging viewing, but it is the subplot of the perfectly-opposing rise to fame of an actress and dancer called Peppy Miller (Bérénice Bejo), which fuses the film together to become something special. Miller is a serial co-star of Valentin’s at the height of his fame after she blagged her way into the Kinograph set-up after a chance meeting at one of his a premieres. She idealises him and is overwhelmed to be acting with such a man, even making several attempted passes at the (unhappily) married man.

If Miller is the youthful future of the studio, then Valentin is the dead wood waiting to make way for the new, but as the artist proudly stays true to his art, he is effectively holding a melting candle, as he claims no-one wants to hear his voice. But despite Miller enjoying her new-found fame and rising stock, she has not forgotten where she came from and who got her into the business and why. She is determined not to let Valentin’s flame burn out.

The Artist deserves all its plaudits for a wonderful throwback to a bygone era and there are laughs aplenty and moments of clever irony, playing on the themes of silence and voice, amidst the genuine empathy evoked by Peppy and George, plus there is some impressive scene-stealing by the dog star, who will get special mentions in most of the award ceremonies I am sure.

The Artist (PG)
Directed by Michel Hazanavicius
Starring: Jean Dujardin, Bérénice Bejo, John Goodman, James Cromwell.
Running time: 100 minutes

The Artist is showing at the Rio Cinema in Dalston until Thursday 19 January.

Owen Sheers (R) with Amit Gupta (L) the director of Resistance

Something is not right in the Olchon Valley. One morning in 1944, the inhabitants of a small village nestled in the ominous shadows of the Black Mountains wake up to find that all the menfolk have disappeared.

The assumption is that they have vanished into the hills to join ‘the resistance’, for this is 1944, the D-Day landings have failed and Wales has been occupied by Nazis. So begins Resistance – a recently released feature length film featuring Michael Sheen and adapted from the novel of the same name by Hackney-based writer Owen Sheers.

Resistance begins immediately after the women make their shocking discovery. They don’t have much time to digest the disappearance before a company of German troops arrives in the village. Snowy conditions force them to make camp, and what follows is an unsettling but moving study of the complex dynamics between the occupiers and the occupied.

The plot revolves largely around Sarah, mesmerisingly played by Andrea Riseborough, whose strong faith and devotion to her absent husband is challenged by head Nazi Albrecht (Tom Wlachiha) who is conflicted by the orders he is given and slowly becomes infatuated with Sarah. As Sheers points out, the resistance in question refers to the German soldiers as much as the villagers.

By no means is it an easy film to watch; like the book, it is a slow burner. One of the viewer’s first observations is the lack of much incidental music. It’s not an exaggeration to suggest that the howling wind could receive top billing on the sound credits.  This adds to the overbearing feeling of isolation and abandonment that the landscape evokes. It is the scenery of Sheers’ native land that is the star of the show and his inspiration.

“It was a story that grew out of the landscape more than anything else,” he explains over coffee at L’Eau à la Bouche café on Broadway Market. “The area has been used by many different characters over the years, from the 12th century monks that built an abbey there, romantic poets wanting to create their own Garden of Eden and artists forming communes. I’m fascinated about how certain geography allows people to live life on their own terms.”

Although he identifies with poetry first, Sheers has kept up a colourful and diverse body of work, aided by long sessions at the London Fields Lido. Past projects include The Dust Diaries, a reportage tracing his distant uncle’s missionary life in Rhodesia, and a documentary on unsung war poet Keith Douglas.

He is currently working with sick and wounded veterans to write and perform their own play in the West End. Most notably, Sheers also produced a 72-hour immersive theatre contemporary retelling of The Passion in Port Talbot.

“We have the last supper at the Sandfields Social and Labour Club, with the Manic Street Preachers playing live, then the police break it up, there is an angry mob, a trial and Jesus (Michael Sheen) is crucified on a roundabout. There were 12,000 people at the crucifixion and at one point the real police arrived and nobody could tell who were the actors. I thought to myself, ‘now this is a piece of theatre!’”

World War Two dramas all too often adopt the jingoism and triumphalism of the conqueror; they also tend to be set in mainland Europe. Watching depictions of fierce battles raging on distant battlefields is an experience entirely different from seeing German troops striding across familiar landscapes, acting like they own the place.

Resistance is bleak and dystopian and audiences may well be shocked when they are presented with a vivid, jarring tableau of an occupied Wales – one scene of a country show complete with marquees, sheep and swastikas, manages to be both eerie and amusing. Sheers’ piece, directed by Amit Gupta, provides food for thought on the topic of British military engagement around the world and portrays strong but troubled characters going through situations unimaginable to some but a fact of life for others.

Resistance is available on DVD from 19th March.

V&A Images, Victoria and Albert Museum

Vintage protest posters will be displayed at an exhibition at the Rich Mix Mezzanine Gallery in Bethnal Green this month.

The Hanging Out Project, presented by Full Spectrum Productions, will be focusing on iconic protest art from the 1950s, 1960s and 1970s and its influence on youth culture.

The social changes that occurred during this period are documented in material from photographers, artists, designers and self-organised groups such as The See Red Women’s Workshop, Atelier Populaire, Paul Peter Piech, Ian McLaren and Neil Kenlock – the official photographer for the Black Panthers. The exhibition also includes images of Muhammad Ali’s resistance to the Vietnam War.

There will also be space for a selection of contemporary posters created by young people involved with the Hanging Out project. The group was given access to archives of post-war posters as inspiration, eventually transforming them into works with modern day relevance.

The Hanging Out Project is funded by the National Lottery’s Heritage Lottery Fund.

Images of Protest
Friday 6 to Saturday 28 January 2012, 9am – 11pm
Mezzanine Gallery
Rich Mix
35 – 47 Bethnal Green Road
London E1 6LA
Admission: free