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We
land back in London and were straight away immersed into the world of Donna
Huanca. Rehearsals were in full flow and I cried and cried when I saw the solo
show at the Zabludowicz Collection.
It was magnificent, you just cannot envisage it, you have to witness the work with your own eyes.
I head to the Serpentine to see Yana in her new role and she is already part of the Institution. She gave a magnificent welcoming speech over a lovely dinner, her words spilling out so eloquently that you could catch each one in the air! The Helen Marten show was poetic but a little over-complicated for me, you perhaps need a PHD to decipher all the meanings but you cannot help but admire.
Then the opening of the Turner Prize where Donna Huanca joined us to check out the scene. Our arts minister Ed Vaisey was out and about lending his support. It was down to four artists. Helen Marten’s perfect high production full of mysterious narratives and Anthea Hamilton’s big, gold bottom.
Josephine Pryde’s work was thoughtful, soft and lovely but not cohesive enough for me.
My winner was Michael Dean, his work is totally unique and I feel he has really progressed and with much less help than other artists. Although, something tells me that Helen may just win it.
I managed to source a wonderful Yngve Holen that was so perfect for the Collection.
Back to 176 and I am in love and hypnotised. Nick Koenigsknecht and I were so emotional.
Nick, Vincent and Javier in the Huanca fan club. The support of Javier and Nick has been brave and unflinching. We knew we had nailed it when 700 guest’s arrived through the door for the opening night. There was no real laughter just serious discourse until it was time for me to take leave.
The two heroes of the day Donna and her wonderful friend Richie Shazam.
Great conversations everywhere, Lizzie with Andy Holden and Clarrie Wallis.
The skin and body are so integral to this work.
The body stockings like shed skins in a row reminding me of chameleons.
The choreography was intense, each performer had managed to immerse themselves into the work and a trancelike state.
They had all taken on their own personas, really adding to the performance.
Their natural improvisation ignited the sculptures and brought the whole work alive.
