An Immortelle at West Norwood Cemetery

This summer West Norwood cemetery has been transformed from a bleak Victorian burial ground to a bright playground of emotions  thanks to the heat wave and Jane Millar's curation of a site specific art trail. ‘Curious’ aims to revive old visitors and attract new ones whilst approaching themes of mourning, funerary practice and loss through artists responding to its unique architecture, famous residents and untold stories of its inhabitants.

The sites rich history contributes to its attraction as a pilgrimage for those with morbid fascinations and a reactionary space for artists. Also known as the South Metropolitan Cemetery it is the second of London’s ‘'Magnificent Seven'’ burial grounds, founded by its own act of parliament in 1836 it began  consecrating its first burials in 1837. With it’s  favourable location on the outskirts of London the space attracted wealthy Victorians who commissioned grand mausoleums and memorials.  Alongside more modern lawn plots and a Greek orthodox cemetery the diversity of the site has become a unique assemblage of architecture. 

Curious' features the fascinating work of artist Jane Wildgoose who uses the space of the Maddick Mausoleum to exhibit her reactions to the site. Working with  documents from the cemetery office her work explored the archives and upon our arrival proclaimed that we should look at the cemetery as an archive.

Wildgoose's work focuses on the narratives of human remains, reflecting her interest in the space by the use of an immortelle - a French funeral wreath of beaded flowers. Found by a friend on a Southern French market the wreath had seen better days but Wildgoose created a life cycle by adding home made beaded flowers and  remains of similar pieces found on markets to give it a new lease of life. As immortelle's are characteristic of the practice of leaving notes and gifts upon or near the site of a loved ones remains she sees that the immortelle provides a need to link the living with the dead. She thus created a participatory piece, inviting visitors to write the names of loved ones lost, their site of burial and attaching the notes to the immortelle, by contributing to the wreath participants create an archive of emotion.

Further works play on the concept of emotion, and wandering through the cemetery I was struck by ‘I Miss U’  created by Lucy Spangol. Expressing the loss of a loved one through the recognisable plastic flowers and funeral lettering the work responds like Jane Wildgoose's to the practice of leaving personal gifts at the graveside, and reminds onlookers of the personal tragedy and hurt of love and death.

‘Curious’ provides a reminder of the Victorian cemetery as a place of raw emotion, indulgence in death and the beautiful wonder of cemeteries but the trail will only be exhibited until the 28th July. The cemetery is open daily, and perfect for a Sunday walk. 

This Sunday (21^st July) visit the cemetery and join the curator and artists for ‘ A Grand Picnic for the Common Dead’ from 12 – 5pm

Find out all about curious here: http://www.westnorwoodcemetery.com/curious_trail/

Follow on facebook: https://www.facebook.com/SiteCurious

Follower on Twitter: @Sitecurious

Jane Wildgoose’s work Here: http://www.janewildgoose.co.uk/

Review: Death- A (Critical) Self-portrait

It is important to bear in mind when reading any review written by a member of the Collective that we are museum professionals, and as such view exhibitions in a very different way to the general public. When we walk into a gallery, our eye is immediately drawn by an exposed socket, a poorly hung label, or a badly conserved object. I hope with that in mind my thoughts on the Wellcome Collection's current exhibition 'Death- A Self-portrait' will be a bit more in perspective.

It seems that these days the Wellcome had made quite a name for itself with it's blockbuster exhibitions. Medical history is in vogue, and the Wellcome with its resources, vast historic collections and penchant for merging medicine and cutting-edge art is well placed to be a hot spot in the museum world. After their Miracles & Charms exhibition in the autumn, I was expecting to be blown away by Death. And well, I was not.

The thematic rooms by room organisation of the exhibition seemed stilted, and every inch of surface was covered in frames. I was in information overload after the first room. Visiting as I was with other museum professionals, we were all slightly irked by the low height of the labels, and the interpretation of some of the art works (but using interpretive labels with art is in itself very contentious). On an aesthetic level, the art works exploring death throughout time and across cultures is very beautiful. Yet everything seems a bit less chic, a bit less 'Wellcome' with fake furniture and fire places.

Just when I was getting ready to right off the exhibition, I came to the last themed section of the exhibition called 'Commemoration". Here, contemporary art exploring death and ancestor worship in South America was contrasted with stunning objects from Tibet including gilded skull bowls. Now here is what the Wellcome is known for: bringing together fascinating material culture with innovative art from around the world. I had forgotten for a moment I was in the Wellcome at all.

Then again, every object in the exhibition is from an external collector, Richard Harris. And while I'm sure Mr. Harris and the (external) exhibition designers had a very fun time putting it all together, it just doesn't feel very much like the Wellcome team was involved. Maybe it's because everyone is busy now preparing for the Wellcome Collection's very exciting development project (http://www.wired.co.uk/news/archive/2012-10/24/wellcome-collection-extension) but Death feels imported.

This is looking at the exhibition from a very critical and museum-biaised perspective. I can guarantee if you come by to visit, you will be amazed by beautiful Goya sketches, gruesome pictures of turn of the century dissections, and some ambitious art. I only wish Death had that off-beat and chic energy the Wellcome is known for, that special something that could help it compete with the Museum of London's enormously successful Doctors, Dissection and Resurrection Men. Worth a visit, but this exhibition feels more like the Richard Harris show.

Death: A Self-Portrait is on at the Wellcome Collection from the 15th of November 2012 to the 24th February 2013. Free Admission. http://www.wellcomecollection.org/whats-on/exhibitions/death-a-self-portrait.aspx