I need to say a big thankyou to everyone who attended and was involved in the Hullywood Icons Opening Event and Exhibition preparations:
THANK YOU! YOU ARE ALL STARS!
The opening event of the Hullywood Icons show at HIP Gallery in Princess Quay Shopping Center was extraordinary in so many ways here are just a few
400 tickets were issued via Eventbrite on the night over 400 people attended.
GF Smith supplied all the prints for the exhibition going above and beyond all expectations.
Many of the Hullywood Icons came in costume giving the event a really great celebratory feel.
Bandanarama played an incredible set halfway through the event adding to a really great party atmosphere.
There were cocktails (thanks to Darren Squires), Nibbles supplied by Furley and Co and Wine and glasses supplied by Majestic Wines. Only one broken glass all night! The drinks flowed and the party happened in fine style!
The silver screen was supplied by Tim Wall and installed by his son Ben Wall. Tim also worked on the external projections in Hull, Beverley and Bridlington with sound man and Landrover wrangler Chris Broadwell.
Thanks to the The Chain Gang (The Mayors of Hull, East Riding and beyond) and to Sean Chaytor who’s speech was fantastic. You guys know how to party.
To Anna Dinsdale who made the remarkable thank you speech and gave me the wonderful book present on behalf the Hullywood Icons which I love and will treasure.
I have to say a special thank you to the remarkable Alan Raw for curating the images, going the extra mile on my behalf to make the exhibition happen. To all the HIP Gallery volunteer for working so extraordinarily hard to hang the exhibition and prepare the space. I need to thank the volunteers from the Creative and Cultural Company and HIP Gallery. Special thanks to Creative and Cultural Company volunteer Ellie Hardy who grabbed so many great shots on the night and over the opening weekend.
To Furley and Co for the after party venue I say a big thankyou.
I need to say thankyou also to Les Drake who is making a documentary about the Hullywood Icons and was filming on the night.
To GF Smith for sponsoring the print and to the Arts Council for funding the creation of the work through their Grants for the Arts Scheme.
So to everyone involved in the opening and exhibition I say a heartfelt thanks. You have all gone the extra mile. Hull is a great city and it’s people are without doubt it’s greatest asset.
When Emma Palmer who runs the Hullywood Icons twitter account contacted Peter Levy with a tongue in cheek challenge to see which icon he would like to be she didn’t expect him to reply and for the shoot to take place the day after. Things move very fast in the magical world of Hullywood. Peter decided on Sean Connery from Dr No and the Hull Marina as a location. A toy gun was quickly acquired and Peter bought himself a new dinner jacket and we were ready to roll. John Box was kind enough to bring his convertable down for the shoot as Peter’s real car is a rather unassuming Ford.
At 10-30am on a glorious january morning we made these images of Peter as Sean Connery. The whole thing was filmed by Simon a broadcast journalist working on City of Culture for the BBC and then I had to dash back to my home to develop the image in time for Look Norths evening broadcast.
Raising Hull: the party starts in style in the UK’s new City of Culture
Can the city once dubbed the UK’s ‘No 1 Crap Town’ be reinvented with art? Richard Morrison hit the streets to see
January 3 2017, 12:01am, The Times
If the rest of Hull’s year in the limelight lives up to its first day, we will all be looking at the relocation costs of moving to Humberside. In bone-numbing temperatures on Sunday evening the streets of the gritty old port were packed, the pubs heaving and the mood ebullient for the opening events of Hull’s improbable year as UK City of Culture.
“Have you seen the young people out there?” cried an emotional Rosie Millard, the chairwoman of Hull 2017. “And the oldies,” added John Prescott, one of dozens of Humberside heavyweights invited to the opening.
Admittedly, most of the vast crowd had turned up to see a firework display promised to be “bigger than London’s on New Year’s Eve”. They weren’t shortchanged. Starting at the symbolic time of 20:17 (well actually a few minutes later, but maybe Hull time runs later than GMT), the fireworks didn’t just explode over the Humber in a 12-minute riot of celestial squiggles, they were also beautifully synchronised with a film shown on giant screens round the Marina. Indeed at times it almost seemed as if the fireworks were dancing to the music of the film, as when a shower of golden shooting-stars cascaded while Hull’s greatest band, the Housemartins, sang the elegiac Think for a Minute.
This same canny mix of hi-tech projections and unpretentious homespun sentiments is also the dominant feature of Made in Hull, a sequence of 12 highly evocative installations shown on the city’s main streets and squares each evening this week. They have been curated by the documentary film-maker (and local boy) Sean McAllister. “I’ve worked in war zones in Syria and Iran, but the idea of coming home and working in Hull scared the hell out of me,” he said as he showed me round. Nevertheless, he has produced an arresting set of what arty types call “interventions” across the city.
Dominating Queen Victoria Square, Zsolt Balogh’s We Are Hull, the most awesome of the Made in Hull offerings, has a volcanic soundtrack that seems to shake the pavements, and spectacular images projected on to Hull’s finest civic buildings — City Hall, the Ferens Art Gallery and the Maritime Museum. In some ways it’s simplistic: a cut-and paste skim through the headlines and newsreel footage of Hull’s bleakest days (the Blitz, trawler accidents and so on), redeemed by some of its finest hours, mostly involving two shapes of football.
Yet Balogh’s approach is so epic — one was reminded of Sam Goldwyn’s advice to young film-makers: “Begin with an earthquake and work up to a climax” — that each time the 20-minute movie was played on Sunday it produced a roar of approval. If one important goal of the UK City of Culture is to make the inhabitants of a neglected and sometimes reviled city feel better about themselves and where they live, this film is right on the money.
Some of the other Made in Hull installations touch rawer nerves. Projected on to the Deep — Hull’s vast aquarium that juts into the estuary where its two rivers meet — is Arrivals and Departures, by the Imitating the Dog storytellers’ collective. It recounts what seems to be the anodyne history of how Hull has been shaped by immigration and emigration, imports and exports. Coming so soon after the startling Brexit vote in the city, however, it has a very provocative dimension. Despite enormous investment by the German company Siemens (one of the major financial backers of Hull 2017), 68 per cent of Hull’s residents voted to leave the EU. It’s too late to change that now, of course, but more than once, as I talked to people on Sunday, I heard the words “shooting ourselves in the foot”.
In that context, an installation on Scale Lane in the old city centre is also pertinent. Ironically titled (in) Dignity of Labour, it shows young people reacting, in words, music and movement, to the shock of unemployment in a city that has had more than its fair share over the years.
Yet the main impression conveyed by Made in Hull is not of whingeing, but of the city’s energy and sardonic wit. In a vast concrete cavern underneath the High Street underpass, the video artist Jesse Kanda has created Embers, an invigorating, edgy tribute to the clubbing scene in 1990s Hull that uses contemporary film, three screens and a thumpingly loud soundtrack. It suggests that the clubs — mostly long since shut by stringent licensing laws — were places where disenchanted kids could find harmless release for pent-up emotions as well as a sense of tribal kinship.
Just as noisy, but evoking a different sort of tribe, is an extraordinary installation called 105+dB, devised by Invisible Flock. Using 35 loudspeakers it re-creates the roar of the crowd, and the ebb and flow of emotions, at a Hull FC home match. To be inside this surround-sound maelstrom is overwhelming. A rare goal for the struggling home team is greeted with an eruption of lung-power that can probably be heard in Grimsby.
A scene from Castaway recreated in Hullywood Icons by Photographer QUENTINBUDWORTH
That installation is echoed, much more delicately, by another of McAllister’s witty wheezes, which is to get the bells in the city’s two main churches to chime the rival chants of Hull’s main football and rugby league teams. Of course, you have to be a local to get the aural allusions, but that’s rather the point.
Local humour is a prominent feature too of the installations set up in empty shops on Whitefriargate. One pokes gentle fun at the enthusiasm of Hull residents for caravan holidays. Another, called Hull’s Premier Inconvenience Store, satirises the local penchant for shop-window posters advertising goods, services and heaven knows what else. “Learn how to paint in your oven gloves,” one poster reads, while another asks “Do your shoes need breaking in?” Enchanted, I tried to enter the shop, but a sign on the door said: “Closed until there is peace on Earth.” Given the plummeting temperatures, I didn’t feel inclined to wait.
Besides which, my eye had been drawn to Hullywood Icons [sic] by Lens based Artist Quentin Budworth , an installation giving 200 of Hull’s residents the chance to dress up and re-create a scene of their choice from a classic movie. The results — by turns charming, hilarious and downright disturbing — are projected on to a building in Silver Street.
With a budget much bigger than expected (£32.5 million, of which 40 per cent came from non-public sources), Martin Green, the chief executive of Hull 2017, will be expected to offer much grander and more profound cultural goodies in the months to come. I was glad, though, that he chose to emphasise the city’s own quirky character and humour in this first week. There’s been much scepticism about Hull’s credentials to be the UK City of Culture, but even more inside the city itself. So it is vital that with these opening flourishes Green makes local people of all ages feel that the year is for them, not just for tourists.
And after that? Could 2017 really be transformational for Hull? Crazier things have happened and the signs are that the cultural jamboree, allied to the £106 million that the city council has invested in smartening up the city, is already paying dividends. From famously being Britain’s “No 1 Crap Town” a few years ago, Hull has been chosen by Rough Guides — alongside such vibrant places as Vancouver, Amsterdam and Seoul — as one of the Top Ten cities to visit in 2017. And why not? Where else can get your new shoes broken in? hull2017.co.uk
From Old Masters to brass bands — what to catch in Hull in 2017
Ferens Art Gallery, from January 13
One of Britain’s big regional art galleries, the home of everything from Canaletto to Hockney, reopens after a £5.1 million refurbishment. It also showcases its new acquisition, Pietro Lorenzetti’s Christ Between Saints Paul and Peter, as well as five of Francis Bacon’s “screaming popes”. Spencer Tunick’s Sea of Hull photographs, showing hundreds of Hull residents naked and painted blue, also features in the 2017 Ferens programme, as does (from September) the 2017 Turner prize.
Anthony Minghella, Middleton Hall, January 24-26
A retrospective devoted to the life and work of the film-maker who went to university in Hull. Includes screenings of The English Patient, The Talented Mr Ripley and Cold Mountain, plus discussions and script readings.
Humber Street Gallery, from February 3
A new space for contemporary art in the Fruit Market district opens with a mix of work including Sarah Lucas’s Power in Woman — plaster sculptures of three women, first presented as part of a show called I scream Daddio at the Venice Biennale.
The Rise and Fall of Ziggy Stardust & the Spiders from Mars, Hull City Hall, March 25-26 (returns only) Two of David Bowie’s old muckers take part in the first live presentation of his seminal 1972 album.
The Hypocrite, Hull Truck Theatre, February 24-March 25
The Hull-born playwright Richard Bean, of One Man, Two Guvnors fame, has written a new comedy set in Hull at the start of the English Civil War. Presented as a co-production by Hull Truck Theatre and the Royal Shakespeare Company.
Lines of Thought, Brynmor Jones Library, to February 28
Magnificent touring exhibition of drawings loaned by the British Museum, ranging from Michelangelo, Rembrandt and Dürer, to Matisse, Degas and Bridget Riley.
Brighouse and Rastrick Band, Hull City Hall, January 21 No festival based in Yorkshire would be complete without a brass band spectacular. Here the world-famous musicians from Brighouse and Rastrick join forces with the local heroes of the East Yorkshire Motor Services Band.
Bowhead, Hull Maritime Museum, to March 19
Commemorating Hull’s whaling heritage, the city’s computer artists have created this lifelike audio-visual installation of a Greenland right whale.
Look Up, city centre, from January 8
A series of specially commissioned outdoor artworks designed to “intrigue and inspire”, it features such artists as Bob and Roberta Smith and Michael Pinsky. The spectacular opening work, by Nayan Kulkarni, has been made by workers in Hull’s Siemens factory and will go on show in Queen Victoria Square next weekend.
Mind on the Run, Hull City Hall, February 17-19
Three-day festival of “sonic visionaries”, including Goldfrapp’s Will Gregory and St Etienne’s Bob Stanley, celebrating the achievements of Basil Kirchin, claimed as “the forgotten genius of postwar British music”.
Richard III, Hull Truck Theatre, May 4-27 Northern Broadsides staged its first production, Shakespeare’s Richard III, in Hull 25 years ago. Now Barrie Rutter’s irrepressible company returns to the same play in a new production.
Ethel Leginska, Ferens Studio, March 10-12
Exhibition and concert celebrating the Hull-born musician who, in the early 20th century, became one of the first female conductors as well as a renowned concert pianist.
The company set up to run Hull’s City of Culture year is being given £1m of council cash to continue beyond 2017.
It is part of a deal with the Government after former chancellor George Osborne announced a £13m package of support in March.
The City of Culture company is led by chief executive Martin Green with broadcaster Rosie Millard as its chairman. As yet, it is not known whether either will stay on after 2017.
At a recent East Riding scrutiny meeting Mr Green hinted he might move once the year had finished, admitting: “I’m a bit of a project junkie”. However, the company itself will continue to operate until 2021 to delivery a legacy programme of culture and arts activities.
‘PROJECT JUNKIE’: Martin GreenCity council deputy chief executive Trish Dalby said: “2017 is going to be a fantastic year but it’s not just about that year.
“It’s about another three years after that when Hull will still be the UK City of Culture.
“During that time we will be looking to change significantly how people think about arts and culture in Hull by using them as a vehicle for regeneration and transformation.”
Ms Dalby said it was too early to say whether key company figures such as Mr Green would be staying. She said: “Ultimately it will depend on personal circumstances and we have to respect that, however, I am confident that some people who have come to Hull work on 2017 will consider staying on.”
She said one the roles of the company beyond 2017 would be to continue the job of attracting arts funding to Hull. “We have already seen how it has attracted really big funders and sponsors for 2017,” she said.
“For this additional investment the council is putting in we would expect a similar return.”
CULTURE: ‘Hullywood’ movie posters are among the projects catching attention.Several major funders for the 2017 programme have already expressed an interest, in principle, of extending that support for Hull into the following years.
The council’s £1m allocation will sit alongside £8m from Mr Osborne’s grant for legacy work. The remaining £5m from the government grant is going towards the cost of redevelopment work at Hull New Theatre.
The 2017 company was set up in October 2014 after Hull won the bid to become the next UK City of Culture. It operates as a charity and is based in High Street.
When Kate Macdonald asked me if she could be The Lady in the Radiator from the cult David Lynch film Eraserhead I thought blimey that’s a bit out there but what the hell let’s give it a whirl.
Kate explained that she had scene the film whilst a living in a flat which resembled the kitchen in Withnail and she was about 18 the first time she watched it and under the influence of various things and remembers the jacket potato she was trying to eat resembled the baby in the film. She was determined to watch it when ‘straight’ but said it was still as weird! The meaning attributed to the mysterious Lady in the Radiator (Laurel Near) was that she represents the Grim Reaper and sings to Henry an eerie song of heaven and of how “everything is fine” there. It can be stated that the radiator itself is representative of Henry’s thoughts of self-destruction and that he sees death as a source of freedom from his living Hell.
This view seems to be confirmed at the film’s shocking climax when Henry kills his baby in act of release and mercy. He is then met by the Lady in the Radiator in a brilliant flash of light and dies in her arms. In this act, Henry has finally embraced Death and accepted it into his life, giving him admittance to his own personal heaven and freedom.
Many thanks to Paul Jackson at the Adelphi for letting us use the stage there for the shoot.
Liz dees asked if she could be the White Witch from the Chronicles of Narnia played by Tilda Swinton and that she had a ‘brown haired boy’ lined up for the shoot imagine my amazement when I arrived at the shoot to find Charles Huckvale dressed as Edmund Pevensie played by Skandar Keynes in the film. You may recall Charles starred in ‘The Wild One’ shoot with Bandanarama,
The Chronicles of Narnia is a series of fantasy films from Walden Media, based on The Chronicles of Narnia, a series of novels by C. S. Lewis. From the seven novels, there have been three film adaptations so far—The Lion, the Witch and the Wardrobe (2005), Prince Caspian (2008) and The Voyage of the Dawn Treader (2010)—which have grossed over $1.5 billion worldwide among them.
The series revolves around the adventures of children in the world of Narnia, guided by Aslan, a wise and powerful lion that can speak and is the true king of Narnia. The children heavily featured in the films are the Pevensie siblings, and a prominent antagonist is the White Witch (also known as Jadis).