Talking of a ‘Grexit’…

“Europe without Greece is like a child without a birth certificate”

Valery Giscard d’Estaing

Perhaps economically irrelevant, but culturally, worth being reminded of.

Paris’ Free Museums

 
With over 30 million visitors a year, Paris is the world’s most visited city. Among its many attractions are its 153 museums, which showcase an incredibly diverse collection of art from all around the world. In a bid to widen accessibility to this impressive cultural heritage, the city of Paris has allowed free admission to 11 of its museums’ permanent collections. From modern art and antiquity, to literary works, these 11 museums are a brilliant, free access point into a city brimming with culture and the arts:

Musée d’Art Moderne de la Ville de Paris Dedicated to art of the 20th century, the museum’s collection gives an overview of artistic trends of the century, from Fauvism and Cubism to 1990’s abstraction. Highlights include Picasso, Matisse, Braque, Modigliani and Matisse’s gigantesque The Dance in its very own “Salle Matisse”. 11 avenue du Président Wilson, 75116 Paris Métro : Alma-Marceau / Iéna

Maison de Balzac A literary museum dedicated to the 19th century French writer considered to be one of the founders of Realism. A collection of his keepsakes, paintings and original works on display in the apartment in which he lived between 1840 to 1847. 47 rue Raynouard, 75016 Paris Métro : Passy / La Muette

Musée Bourdelle A museum devoted to the work of Rodin’s star pupil, Antoine Bourdelle. A large collection of his drawings, paintings and sculptures are on permanent display in the studio, house and garden, including his impressive 21 studies of Beethoven, 18 rue Antoine Bourdelle, 75015 Paris
Métro :Montparnasse - Bienvenüe / Falguière

Musée Carnavalet : Musée de l’Histoire de Paris A vast history of Paris from prehistoric times to the present day. Located in two mansions, the collection includes paintings, artefacts and furniture recording the development and expansion of the city from the small village of Lutece to one of the most visited cities in the world today. Highlights include a beautiful perfume and wine bottle from the 4th century and paintings showing the infamous storming of the Bastille in 1789. 23 rue de Sévigné, 75003 Paris
Métro : Saint-Paul / Chemin vert

Musée Cernuschi : Musée des Arts de l’Asie One of the largest museums dedicated to art of the Orient in Europe, the museum consists of Henri Cernuschi’s collection of pieces acquired during his 19th century travels around the world. The museum houses over 900 Chinese, Korean and Japanese artefacts, offering a retrospective of various eras and dynasties, including a fine collection of archaic bronze pieces from the 3rd century BC. 7 avenue Vélasquez, 75008 Paris. Métro : Villiers / Monceau


Musée Cognacq Jay, Musée du XVIII siècle The collection of Théodore Ernest Cognacq and Marie Louis-Jay, founders of the La Samaritaine department store. The museum displays decorative items and fine art with an emphasis on 19th century French pieces, including paintings by Hubert Robert and Jean-Antoine Watteau. The works are all displayed in 20 panelled rooms in the styles of Louis XV and XVI. 8 rue Elzévir, 75003 Paris. Métro : Saint-Paul / Chemin-Vert / Rambuteau


Mémorial Leclerc et de la Libération de Paris, Musée Jean Moulin Two museums devoted to the World War II occupation of Paris, and two of its key figures, French general Maréchal Leclerc and Jean Moulin, leader of the Resistance. Audiovisual displays transport the visitor into occupied Paris and the two museums work alongside each other to offer two historical perspectives on this period of French history. 3 Allée de la 2e DB, Jardin Atlantique 75015 Paris. Métro : Montparnasse-Bienvenüe / Gaîté / Pasteur


Petit Palais, Musée de Beaux Arts de la Ville de Paris A panorama of art from Ancient Greece to the beginning of the 20th century. The collection includes art objects of the ancient world, 17th century furniture, paintings from the Italian and French Renaissance, and well known pieces by Delacroix, Monet, Sisley and Courbet. An impressively diverse collection of works, all in display in the recently renovated Petit Palais, constructed as part of the Universal Exhibtion in 1900. Avenue Winston Churchill , 75008 Paris. Métro: Champs-Elysées Clémenceau


Maison de Victor Hugo The house in which the great French novelist lived between 1832 and 1848, now turned into a museum dedicated to his life and works. The collection includes some of his furniture, mementos of his writing career and more than 450 of his drawings illustrating scenes from his own novels. Hôtel de Rohan-Guéménée, 6 place des Vosges, 75004 Paris Métro: Bastille / Saint-Paul / Chemin-vert


Musée de la Vie Romantique A literary museum devoted to the Romantic period, in particular to the French writer and 19th century rebel George Sand and the painter Ary Scheffer. The collection includes much of Sand’s jewellery and a plaster cast of the hand of the composer Frederic Chopin, one of her many lovers. Housed in a picturesque hotel particulier with a charming garden. Hôtel Scheffer-Renan, 16 rue Chaptal, 75009 Paris. Métro: Saint-Georges / Pigalle / Blanche / Liège


Musée Zadkine A museum dedicated to sculptor Ossip Zadkine in his former home and studio. The collection shows Zadkine’s involvement in the Cubist movement in the early 20th century and his later interest in African art. A highlight is the garden, where the artist’s major works are on display, including his memorial to World War Two in the sculpture “The Destroyed City”. 100 bis rue d'Assas, 75006 Paris
Métro : Notre-Dame des Champs / Vavin


Museums Free First Sunday
If you’re lucky enough to be in Paris on the first Sunday of the month, these museums are all free:
Musée National d'Art Moderne, Centre Pompidou, 4th
Musée de l'Assistance Publique-Hôpitaux de Paris, 5th
Musée National des Arts Asiatiques Guimet, 16th
Musée de la Chasse et de la Nature, 3th
Musée National Eugène Delacroix, 6th
Musée Gustave Moreau, 9th
Musée National Jean-Jacques Henner, 17th
Musée du Louvre, 1st
Musée National du Moyen Âge - Thermes de Cluny, 5th
Musée National de l'Orangerie, 1st
Musée d'Orsay, 7th
Musée National Picasso, 3rd
Cité de l'Architecture et du Patrimoine, 16th
Cité Nationale de l’Histoire de l’Immigration, 12th
Musée du Quai Branly, 7th
Musée Rodin, 7th


Paris Museum Pass
And if these free museums are not enough, the Paris Museum Pass is a great way to jump the
queues and save some money. Valid for more than 60 museums and monuments in and around the
Paris region:
2 days: €35
4 days: €50
6 days: €65

http://en.parismuseumpass.com/

Article originally published on http://www.parisvoice.com/art/656-paris-free-museums

Paname

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Paris et Créations: Vitrines sur l'Art

With its many museums, beautiful architecture and vibrant street art, Paris is a city with a thriving and diverse artistic scene. This summer, as a tribute and testament to this artistic dynamism, Galeries Lafayette has offered up its windows to 8 cultural institutions of the city. Les Arts Décoratifs, the Centre Pompidou, the Cité de l’architecture & du patrimoine, la maison rouge, the Musée d’Art Moderne de la Ville de Paris, the Palais de Tokyo,  La Gaîté lyrique and Le BAL have each decorated a window display of the famous department store on the busy Boulevard Haussman. The project, Paris et Création, now in its 3rd year running, aims to give passers-by a taste of the city’s diverse cultural offerings, bringing an eclectic selection of art to the streets and to the Parisian shopping masses.

Collectively, the 8 mini-exhibitions explore a range of artistic forms, spanning from digital art and design, through to architecture and fine art. Jean Francois Leroy’s installation for the Palais de Tokyo works alongside an exploration of the urban and natural in the display of the Cité de l’Architecture et du Patrimoine; the Musée d’Art Moderne creates a poetic dialogue between pieces from its collection and the films of Ariane Michel.; La Gaîté Lyrique explores the urban skateboarding scene. The variety of themes and art forms turns the Galeries Lafayette into an explosive smorgasbord of artistic activity.  

And as a testament to the cultural diversity of Paris, the windows also offer a vision of the global nature of the city’s art scene. The blow-up red toy buffalos in the display of Les Arts Decoratifs pay homage to Czech designer Libus Niklova, whilst Le BAL, the Centre Pompidou and La maison rouge give us a glimpse into the nightlife of Tokyo, contemporary Indian identity, and the wildlife of Winnipeg, Canada. An urban hub of the city has turned into an artistic journey around the world, offering locals, tourists, art experts and art novices alike, a chance to share in Paris' brilliantly dynamic cultural wealth. 

Showing now, until the 5th August at Galeries Lafayette, Boulevard Haussman.

Photos:Leo Tobisch

Paris Fetes Cinema

 
With over 300 films showing a week in over 100 movie theaters and a museum dedicated solely to film-making, Paris is one of the film capitals of the world. The city fetes cinéma during July and August with three festivals dedicated to the silver screen. From 1960’s Mexican movies to French classics screened under Parisian skies, this summer Paris promises to be a moveable film feast.

Le Festival Paris Cinéma
Start the summer off with this 11 day celebration of eclectic cinema from around the world. Aimed at discovering new filmmakers through its international competition, as well as honouring established film personalities, this year's festival will focus on Mexican cinema showcasing over 40 Mexican films, including the work of guest of honour, actor Gael Garcia Bernal. A highlight is sure to be the “Nuit du Cinéma” which will launch the festival with an all-night event of cinematic hedonism, featuring 1970’s Japanese erotica, an exploration of feminine vampirism in film and alternative Mexican cinema of the 60’s and 70’s. There will also be a film flea market with vintage posters, old magazines and other trinkets from the cinematic world. Takes place July 3-11 in various theaters around Paris. Individual screenings: €5, Festival Pass: €30, More info: http://www.pariscinema.org/uk/

Cinéma en Plein Air
For a little bit more originality on hot summer nights than an evening picnic on the banks of the Seine, the Parc de la Vilette Open Air Film Festival is where to be. Over a bottle of wine, check out some film classics such as Cedric Klapisch’s "Chacun cherche son chat," (When the Cat's Away (1996) or travel to New York through the eyes of Woody Allen in "Manhattan" or catch Gene Wilder’s acting debut in the iconic "Bonnie and Clyde." Includes a vast range of films from various countries and eras...and all screenings are completely free.  One film each night starting at sundown, Tuesdays to Sundays between the 19th July to the 21st August. http://www.villette.com/


Cinéma au Clair de Lune
The streets of Paris — the setting for so many filmic encounters— are cinematographic in their own right. What better way to pay tribute to them than to use them as the backdrop for a summer film festival? The Moonlight Cinema Festival (August 3-21) takes place at 9:30pm in various locations including Montmartre, Jardins des Champs-Elysées, Place des Vosges, Menilmontant and the Esplanade de Invalides. The festival kicks off with the 1940’s comedy starring Arletty "Fric-Frac" screened in Montmartre ending with Jacques Rozier’s "Adieu Phillipine" in Place René-Cassin by the beautiful gothic church of Saint Eustache. All films are in French.  http://www.forumdesimages.fr
And for a film festival that's already underway, Fete du Cinéma is offering reduced prices for film screenings nationwide. Now in its 27th year running, it works on a simple principle: buy one full priced ticket to any screening, and you are guaranteed €3 entry into all subsequent film screenings over the duration of the festival, at participating theatres.Until 1st July. http://www.feteducinema.com/

Article originally published on www.parisvoice.com

Francois Morellet, ‘Réinstallations’ at Centre Pompidou

Réinstallations is the Pompidou’s latest exhibition in a series dedicated to important figures in the world of contemporary art. Starting off as an abstract painter in the 1950s, and then moving on to the more scientific Neo-Plasticism of Mondrian, Morellet came to installations in the early 60s. Always inspired by and in constant dialogue with their direct environment, being anything from a tree to the banks of the Seine, the idea of exhibiting 26 of these installations in the white cubed walls of the Pompidou’s Gallery 2 initially seems a little counter-intuitive. However, perhaps largely due to Morellet’s own creative input in it, the exhibition succeeds in not only maintaining the original vibrancy of the works, but also in giving them an additional breathe of life; As a new environment and context, they now work with and within each other, adding another element of dialogue to these complex living spaces.
The works on display do have one strong common thread; the idea of the neutrality of lines and rigid shapes and how this neutrality can generate the idea of repetitiveness and infinity – the underlying notion being that one simple single line could go on forever, never meeting it’s parallel. A very common minimalist idea. But in Réinstallations this idea of linear endless continuity is hugely re-interpreted, to the point where its total antithesis is revealed; lines and seemingly fixed structures transform into a forceful representation of impermanence. Our idea of lines is re-created and re-placed into a new context, much like the installations themselves – as such, the exhibition lives up to its “re” prefix.
“Reflections in water distorted by the spectator” consists of a grid of neon lights displayed on the ceiling above a square of water, so that they are reflected within it. The spectator is invited to pull a leaver so that the water moves, thus causing the seemingly rigid reflection to bend out of shape, the ripples turning lines into curves and the light blurring distinctions and boundaries. The permanence of the neon grid is, within seconds, totally destroyed. Lines no longer represent an immovable, endless force as they turn instead into a powerful image of changeability, movement and impermanence.
The interactive nature of many of the installations puts this change from rigidity to flexibility into the hands of the spectator. The piece “Red” consists of the word ROUGE illuminated in white and red light; but whilst the spectator presses a button to further illuminate the piece, the colours change and the letters disappear and reappear according to how long ones eyes are focused on the image. Watch for thirty seconds and only red and white colours are visible. Watch for three minutes (with as few blinks as possible) and the ROUGE turns into green, then blue then disappears altogether. Our will, our decision, changes what we see and how we see it. Even Art, represented in an image of the Mona Lisa, can be altered. By pressing a button, a gust of wind is blown onto a fabric recreation of the painting. The infamous face is distorted, much like the ripples of the water, and we are forced to doubt our knowledge of even the most well-established piece of Art, which turns out also to be just as changeable as our volatile eyes.
Playing with the elements of light, wind and water,Morellet’s installations expose that everything is changeable, nothing is infinite. And the brilliance of having them all in one place as opposed to their usual solitary existence is that the spectator continues throughout the exhibition to be relentlessly faced with this notion. So much so, in fact, that even our very own bodies begin to reflect it. We turn into an extension of the art: variable, impermanent and in a self-inflicted state of fragility. Having played too much with the interactive lights, I walked out of the exhibition feeling giddily stunned and dizzy, with eyes that were seeing colours in the clouds and light where there was none.
 
Réinstallations is on at the Pompidou Centre Paris until July 4^th 2011
http://www.centrepompidou.fr/

These boots are made for walking

Where are you?

Paris in the rain…

Listening to this whilst walking home in Parisian rain. Pretty voice, lovely video and the singer has awesome tattoos…

A few first impressions of Paris life

1)THE FRENCH STARE – there is no shame in staring intently at someone for the duration of a 20 minute metro journey. Stare-wars are common. Clearly, only polite Brits shyly look away when caught out.

2)THE FRENCH CLOTHES – unbelievably irritating effortless dressing, for which you have to be skinny, flatchested and own nothing but black and grey and cigarettes. I am seriously having to rethink my wardrobe choices; I think the yellow tutu might have to go.

3) THE FRENCH DOG POO – third time in three days that I’ve heard that horrible squelching noise and looked down to a very smelly shoe. I love dogs, especially dressed up Parisian ones (I saw one wearing a fur-lined hoodie today) but come on Frenchies, clear it up.

4) THE FRENCH CAFE CULTURE – exactly what the cliché is. Coffee at all times of the day, anywhere, everywhere, always. Most definitely my kind of culture.

5) THE FRENCH KISS – Best chat up line ever: “You are English, non? ‘ave you met ze French kiss? Well, ladiez, I am ze French Kiss” Well, enchantez French kiss, let’s hope to see more of you.

Paris begins…

5. Experimental Cocktail Club

Chinatown: door after door of culinary Eastern promises, roast ducks spinning away in neon lit restaurant windows, and the annual colour-explosion of Chinese New Year - an incredible part of London’s cultural life, but not one I would go to expecting anything more than a belly full of tasty egg-fried rice. So when a friend told me to go to a bar, located at 13A Gerrard Street in the heart of Chinatown, I wasn’t that surprised to find that there was no visible bar anywhere along this road. To find the Experimental Cocktail Club, you need to pretend you’re in some kind of magical world. Somewhere between number 13 and 14 will appear to the very keen eye a small black door, the platform 9 and 3/4’s of cocktail magic. And my goodness, what a well-kept secret this world is. The ECC is a decadent melange of a 1920’s speakeasy and a cocktail bar straight out of elegant Mad Men Manhattan. It’s a three storey converted Victorian house, with a baroque-meets-bohemian décor and an elite (mostly French) clientele to match its flashy cocktail menu. The downstairs main bar is classic and regal, whilst upstairs is smaller, and more intimate, with a piano decorating it’s bar and Chinese style prints to complement its Chinatown location. The drinks are certainly not cheap, especially with the compulsory service charge added to each bar trip, but the cocktails definitely live up to the bar’s name. With ingredients such as smoked pineapple syrup and lavender-infused gin, you are guaranteed to find something to excite you. Owned by a French trio, who have a few very popular bars in Paris, this place is fairly new on the Soho scene, having opened only a few months ago. But judging from a packed Thursday night, it is doing very, very well. And why wouldn’t it? It is exactly what you want from a classy night out. Exclusive, but not pretentiously so, expensive but not unnecessarily so, and so very beautifully hidden, the ECC is one of London’s most brilliant little secrets.

http://experimentalcocktailclublondon.com/

4. Freud

Nestled at the end of Neal Street in the heart of Covent Garden, this cocktail bar and art gallery is almost invisible to the untrained eye. On first appearance it appears to be a dingy, dimly lit basement bar, but follow the rather dangerously steep metal staircase down and far from the seeming descent into hell, this is in fact the path to cocktail heaven. Scrawled on the chalk board behind the tiny bar are at least 100 cocktails, ranging from about £5 to £7.80. And every single penny you spend here is completely worth it. I have never had such a brilliant Bloody Mary, and even the more inventive cocktails make perfect taste sense. The decor and the people most certainly add to this fine concoction; The small space, which is rammed on a weekend, functions also as an art gallery, with eclectic paintings decorating the concrete, minimalist walls, and the skilled creators behind the bar are friendly, fast and, as a nice bonus, always rather good-looking. As a result, this place has rapidly become one of my fail-safe drinking dens, be it for a post-dinner drink, or a pre-clubbing few before hitting the nearby Soho. Be warned though: a friend of mine got the train home in the wrong direction after just two cocktails. Lethally strong and superbly tasty: I’m sure even Freud would approve.

3. Fernandez & Wells

Working just off Carnaby Street lately, a friend meeting me for lunch one day, introduced me to my new favourite place in London: Fernandez & Wells. With its wooden furnishings and its stripped down décor consisting of hams hanging from the ceiling, this cafe/winebar/eaterie has an amazingly rustic feel. Add to this the mounds of fresh, colourful sandwiches, and the rich smell of good coffee, and you feel like you’re in a farmer’s market in rural France, located in the middle of London town’s Soho. And just to make sure you don’t feel a bit too rural, it turns into a stylish wine bar in the evenings. Parfait.

http://www.fernandezandwells.com/index.php

Winter...

'Wearing three layers of coats and legwarmers, I see my own breath on the face of the door'

Changes

Do I dare 

Disturb the universe?

In a minute there is time 

For decisions and revisions that a minute will reverse

 

T.S. Eliot. The Love Song of J. Alfred Prufrock

The “buts” and “ands” of being a feminist

“I’m not a feminist but…”: A frequent expression I hear, spoken from the mouths of even the most independent and socially and politically intelligent women. I have come to realise over the years that women today are often reluctant to embrace and identify with a term which has given them so much. What is wrong with being a feminist? Surely every woman today, having reaped the rewards of her suffragette sisters, should be happy and proud to call herself one of them? For me, “I'm not a feminist but I believe that women should have equal pay” is an oxymoron. If you believe in any ounce of female empowerment, or even live a life which allows you to have it, you are automatically a feminist. And that is not a negative thing.

I much prefer the phrase “I am a feminist and…” I used it just the other day, when inputting some information onto the computer at work I was shocked to find a certain omission from a drop-down list of titles. Mr, Mrs, Miss and various combinations such as Mr and Mrs, Dr and Dr, were all there. The Dr and Mr combination was, however, absent. It is apparently impossible for a woman to have the title Dr, whilst her husband does not. So, I rang up the software creators and proudly used the phrase “I am a feminist and…”

I was surprised, therefore, when I found myself using a phrase which combines both the “but” and the “and” feminist phrases: “I am a feminist but…”. I came across a facebook group against Transport for London’s new posters which try to raise awareness of the dangers of taking unbooked cabs. The group claims that the posters are victim blaming women. According to the creators, the phrase “you’re putting yourself  in danger”, suggests that women are to blame for rape, and that the poster as a whole says that  “women are not entitled to be in public places without the threat violence”.

The poster is certainly shocking. And as the group claims, it probably triggers awful memories for sexual assault victims through the suggestion that the woman depicted is being raped. However, the group takes its attack on the posters too far. It moves on from critiquing the poster for what it is in itself, to slandering it because it is sponsored by the City of London Police who fail to respond to rape effectively and who should therefore not be trusted with giving safety advice to women.

Now, I am a feminist but such slandering of a poster that is raising awareness of real dangers for women, is completely ridiculous. Surely the positive effects of such a poster far outweigh any negative suggestions which it may, supposedly, imply. If anything, the fact that the poster addresses the woman, making it her responsibility, is an empowering thing: You’re safety is in you’re hands, and there are certain decisions which you can make that enable it to stay there. The dangers of unbooked cabs are a very real threat, and the truth of the matter is that women can make certain choices which lessen this threat. Using this, as an attack on the police for not taking rape cases seriously, even though this may be true, is completely unnecessary and counter-productive.

Of course, no movement in history, no attempt for equality got anywhere by being practical and letting certain slip-ups go unnoticed for the sake of the greater good. Naturally, if you’re in a minority, fighting for a cause, you have to push to extremes to be heard. But I think that it is this part of feminism today which makes women reluctant to identify with the term. People see feminist campaigns such as this, which seem so extreme and counter-productive, and automatically, being a feminist becomes associated with impracticality, extremism and over-analytical ridiculousness. And women today see it as that, instead of as what it genuinely and very simply boils down to: believing in women’s rights, empowerment and equality and being able to say it unashamedly and proudly: “I am a feminist”.

who needs syntax

e.e cummings is a strong candidate for the category of “pretentious poet”. Rarely does his poetry follow the pattern for even the most basic structures of our language; a cummings poem makes reading a vertical as opposed to horizontal process, and even his chosen spelling of his name screams self-important, over-analytical and pretentious. Primarily, his poetry is a pain to read. It is a process of putting words together yourself, deciding which word makes most sense with what the poem is attempting, somewhat tortuously, to talk about. And yet, somehow, brilliantly, cummings makes it work.

cummings was the non-modernist poet writing in the modernist time. Whilst artists of the post-war era were fixated on using poetry as a medium to create and find meaning and structure in a dilapidated world, cummings was stripping all that apart, destroying the most basic and seemingly immoveable force of our existence, language, through warping and twisting its most basic rules and patterns. Words are not supposed to be cut across two lines, separated by paragraphs or interrupted by jarring open-ended brackets. So why create such chaos in an already chaotic world? cummings is, cleverly, proposing an alternative solution to the innate rootlessness of a post-war society. By breaking down the last of the human certainties, he forces people to look towards another human certainty and find a purpose in this – emotion. If we have nothing left to root us and structure us, the only thing we have left to know is what we feel.

since feeling is first
who pays any attention
to the syntax of things
will never wholly kiss you;

wholly to be a fool
while Spring is in the world

my blood approves,
and kisses are a better fate
than wisdom
lady i swear by all the flowers. Don't cry
- the best gesture of my brain is less than
your eyelids' flutter which says

we are for each other: then
laugh, leaning back in my arms
for life's not a paragraph

and death i think is no parenthesis

For cummings, it is in feeling that we will find life’s meaning; And poetry is the “spontaneous overflow of powerful feeling” (Wordsworth), the closest, most direct artistic communication of this overarching human capability. cummings’ work is rooted in this reality, the reality of emotion and human susceptibility to it. Pretentious? Or real, positive and innately, painfully human?

2. The Haberdashery

Crouch End is not really an area of North London I frequent very often, but I started working there a week ago, and whilst exploring on my lunch break, stumbled upon a gem of a cafe. This is The Haberdashery. With its Cath Kidston-esque prints,its patterned crockery fit for your grandma’s tea parties, and Victorian fireplace tiles colouring its walls,  it oozes super-cute flower kitsch like nothing you’ve seen before. They serve a great bowl-sized cup of coffee, bake their own organic bread and on the first Friday of each month they hold a bar boot sale; pretty vintage flower dresses to match the pretty vintage teapots- what more could you ask for? However, despite it ticking all the right old-school-quaintness boxes, it would not normally make the list of exciting new places in London that I am trying to compile, just because of its not-so-great location. But my visit there today, changed this judgement as, to accompany my tasty butternut squash soup was an awesome visitor in the shape of the comical and musical genius that is Tim Minchin. Well, if it’s good enough for Tim, it’s certainly good enough for me.

http://www.the-haberdashery.com/Home.html

And…