Revisiting Museum and Art Swindon

On a sunny Saturday afternoon in mid-February it struck me that I need a dose of culture.

I’d last visited Swindon’s art and artefact collection in Apsley House eight plus years ago. At the time I’d written about it within a list of things to do on a weekend morning. Years later, I published an article where I expressed my frustration at the closure of Swindon museum and art gallery.

External view of Museum and Art Swindon, which is located on the first floor

Museum and Art Swindon (M&AS) had cited its move from Apsley House in Old Town as being due to the pandemic, poor accessibility and spiralling costs to keep the listed building maintained. Some of the permanent exhibits were also becoming outdated, and the collection’s extensive catalogue of art was seeing minimal rotation.

Assuming you find the right building on Euclid Street, (I initially tried to open the door of the neighbouring building run by the police…), on the first floor you are welcomed by wide corridors and friendly staff in an area designated for the shop and permanent exhibitions. This space offers an introduction to M&AS, including its history and collection highlights.

Clarice Cliff Ceramics on display in Museum and Art Swindon (M&AS)

From the opening “Origins” exhibition in the centre, one wing focuses on the history of Swindon, the other features rotational exhibits. At the time of visiting there was only one exhibit available to walk around, titled “Un/common People.” This exhibit included physical objects, photos, paintings and a looped video to showcase a variety of perspectives to the region’s varied folk traditions. There was also a feature of the surreal “Hob-Nob”, a horse-like character that flanked the “Salisbury Giant” during annual processions. I haven’t looked at a biscuit in the same way since.

“Un/Common People: Folk Culture in Wessex” exhibition
The Salisbury “Hob-Nob”

The history Swindon wing has seen arguably the bigger transformation. While informative, the collections in Apsley House did have a reputation for being old-fashioned and stuffy, and felt very much like a product of the latter half of the twentieth century. It gave me a feeling of “here is a cabinet of fossils, what more do you want?”

This half of M&AS, which blends environmental and human history, is fresher and the tone of voice much more engaging. There is plenty to learn, for instance I had no idea that the first Stegosaur remains were discovered in Swindon, the bones of which have since been scooped up and are now displayed in the Natural History Museum in London.

Information board, detailing the discovery of “The Swindon Stegosaur”

Jump forward multiple rooms of human development, and visitors are carted to the near present day. A small display of Covid-19 information leaflets summarises recent events, alongside a request for donations to help develop the museum’s collection.

Photo of Swindon’s infamous “magic roundabout” shortly after it was opened in the 1970s

The way information was presented by curators and staff left me with the notion that Swindon’s rapid population growth has done little to fix the fundamental challenges that started appearing centuries ago. The two separate communities of “Old Town” and “New Town” have never really come together, contributing towards a lack of historic centre and, by association, the modern-day tongue-in-cheek reputation of this Wiltshire town. Whether that was the right message to take away or not, it certainly left an impression on me.

From a timeline of historical events occurring nationally and in Swindon town. Turns out Swindon has a few “claim to fames”

My overall thoughts on M&AS? A significant improvement on the previous exhibits at Apsley House and well worth an hour or two of anyone’s time (especially as it is free to enter). Would I make a special trip out to visit it? Probably not. There is no parking at the museum itself, and while there are plenty of council-owned carparks in the vicinity, you will be at the mercy of a pay and display. Museum and Art Swindon is also not the easiest name to remember, not when you consider it was called Swindon Museum and Art Gallery until 2021.

If I was a betting woman, I would put the rebrand down the council wanting to distance itself from its previous home at Apsley House and the highly vocal “Save Our Croc” campaign group. For those less familiar, in true Swindon fashion a stuffed gharial became a mascot and somewhat national treasure to the town, a permanent feature in Apsley House’s fossil room. From this 2023 report, it has been carefully restored, however it is unlikely to feature in the new museum due to its size. After decades of school visits and family trips, the croc was a cross-generational unifier, beyond politics, age or race. Entirely personal opinion, but I just don’t see that level of artefact connection happening with anything in the new M&AS. It is one of those stand-alone items that has so much history by simply existing. A stuffed gharial.

Anyway, after that tangent, we’ll move onto closing words.

The Swindon gharial, on display in Apsley House. The museum’s former location closed in 2021. Photo credit, Swindon Advertiser.

M&AS isn’t the 2020 promise of a cultural quarter. Swindon’s residents will continue to dream of their town becoming, “an internationally recognised exemplar of sustainable, liveable development, [with] world class facilities for the arts and heritage.” However, M&AS does give Swindon something to be proud of and in the face of the jabs and jibes and the relegated gharials, I’d take that as a resounding win.

Museum and Art Swindon is open Tuesday – Saturday, 10:30 – 16:30. For more information, visit their website: https://www.museumartswindon.com/

**

Could you spare a dollar to support me? Donate here!

Alice’s Funding Page

**

This book cover: discuss

One of the many “quirks” of sitting in a number of bookish related chats are the covers that authors bound around for feedback. Of all of them, this one seemed to raise more questions. I’ll let you decide why.

Bearing in mind little to no context was issued by the author, at the time he just wanted design feedback. Standard things, like, “does it grab your attention?”, “is the font legible?”, “is the design overall a good fit?”

From doing a quick search on Amazon, it would appear the book has yet to be published. So keep an eye out, because you never know with these things!

(Oh, and in case there was any doubt, I was very much in the “not a fan” club.)

**

Could you spare a dollar or two? Donate here!

Alice’s Funding Page

**

I need this rock

For anyone pondering ideas for any future birthdays, Christmases, other religious occasions…celebrating your teacher (actually, maybe not the celebrating your teacher), but for everyone else, there is this:

Image credit: Royal Academy of Arts (online shop), London

Title: “Little Rock Looking At You”

Description:

Created exclusively for the RA Editions programme, this new sculpture by Marina Abramović Hon RA is based on a drawing made by the artist whilst living in Australia.

Produced as an edition of fifty in cast and blackened iron, Abramović has painted the eyes individually by hand, giving each rock its own unique character. The sculptures are initialled and numbered on the base and presented in a stamped cedar wood box. Each is accompanied by a card signed by the artist, as well as a certificate of authenticity.

Due to the hand-finished nature, each sculpture is unique.

Retail price: £2950* (*as of May 2024)

£2950?! 2.9.5.0?! Are you actually kidding me? As per Mumma B’s general steer on art, “if Alice could do it, it’s not ‘Art'” and ladies and gentleman, I am quite sure this is something I could do.

Now, before we all start jumping in our cars and heading for the nearest beach, it is worth noting that the creator of this artwork is Marina Abramović. Marina Abramović, as in, the Serbian artist who makes visitors walk between naked people to gain entry to her exhibitions. Marina Abramović, who drinks water more seductively than Nigella Lawson on a Christmas cooking extravaganza:

Marina Abramović, who just basically gets her kicks from performance/shock art.

I was going to add another video to prove my point, but every one ended up with a naked Marina Abramović, or some other woman flashing me, and no one needs that without at least a trigger warning. In the space of thirty minutes I viewed enough of Marina Abramović’s body that it both ruined my related videos feed on YouTube and led to some very awkward suggested adverts.

Goes to show, if you call it “Art” then anything goes.

Purchase link (in case you don’t believe me): Little Rock Looking At You – Royal Academy of Arts – Shop

**

Could you spare a dollar to support me? Donate here!

Alice’s Funding Page

Book Review: “Following the Boar” by Matthew Howard

Rating: 2 Stars

Headline: Too much in too few words: this short story is wounded by its lack of descriptive text

Review:

Matthew Howard’s story Following the Boar: An Ancient Historical Fiction Short Read (hereafter Following the Boar) is a short read and to the point. It tells the story of Borvo, a Scottish warrior, who must prepare for battle against a strange and fearsome enemy who has been massacring the local population and invading lands. As the clan travels toward the battlefield, Borvo and his father rally additional comrades to join the fight, including warriors who swear allegiance to his uncle, Breenus. Together the combined forces travel on in a climatic battle with the enemy of steal.

The main problem I have with this short story is in the quantity of content. In Following the Boar, the author, Howard, has attempted to pack in far too many events into too a short space of time, at the detriment of the descriptive text. Reading through this story I get no sense of place and I struggle to follow the movements of the characters. It is impossible for me to visualise the appearance (and number) of warriors coming from the different fractions; so much focus is made on the three central characters I kept forgetting they were there until suddenly they appear on the battlefield. The protagonist Borvo has no development; even in short stories the reader needs strands of insight to help flesh out the image of the main characters, their personality, drivers and beliefs. Sadly there is none of that here.

One example – the story starts with Borvo waking up on the floor. Why is the protagonist sleeping on the floor? His father is the chieftain of the clan, he even asks his son about his “first taste of poverty”, so what was the cause to place Borvo in humble surroundings?

Without the essential sprinklings of insight and description, it is hard to comprehend why characters make the choices they do and the reader is left feeling disengaged with what limited action takes place. When the ending occurs, somewhat abruptly, it leaves for only feelings of dissatisfaction, as opposed to clamouring for more.

Howard should take this short story as a pause for reflection. The existing story arch would make a good basis for a historic novel or, with elements removed, could be refined into a succinct short story. Improvement needed, but within the muddy battlefield there are glimmers of potential.

AEB Reviews

Links

Reedsy Discovery Review: AEB Reviews – Follow the Boar: An Ancient Historical Fiction Short Read

Purchase Link: Following the Boar: An Ancient Historical Fiction Short Read (Amazon)

**

Could you spare a dollar or two? Donate here!

Alice’s Funding Page

I Saw “Is That All There Is?” at the Tate Modern and I’m Still Hooked

I don’t know if it’s the warped soundtrack, the computer-generated vocals or the mesmerizingly basic Adobe Flash animation but whichever way, I saw “Is That All There Is?” at the Tate Modern (London) and now it’s all I can think about.

I swear to goodness I wish it would just leave me alone. After all, it’s hardly something you can sing along to, not when the earworm in question sounds like a deflated emergency siren.

And, a much as I value the importance of art, I wish this wasn’t the one thing to have stuck with me since my visit to the Tate Modern in November 2022 (that’s right, it’s still haunting me!)

…I’m off to get myself a strong cup of tea.

**

(For what it’s worth) Display caption lifted from the Tate Modern website:

IS THAT ALL THERE IS? considers the environmental impact of global warming. YHCHI often use dark humour to highlight difficult issues. The text and melody of the work are based on the song Is That All There Is?, made popular by singer Peggy Lee in 1969. The fire in the song’s lyrics here becomes a reference to wildfires in California. The question ‘Is That All There Is?’ is repeated again and again, highlighting the lack of personal and political accountability in relation to climate change.

Gallery label, April 2022

Artist credit: Young-Hae Chang Heavy Industries

Title: “Is That All There Is?”

Featured post image (also used below): “What The Hell’s Going On” by Young-Hae Chang Heavy Industries (https://www.artpapers.org/young-hae-chang-heavy-industries/)

**

Could you spare a dollar to support me? Donate here!

Alice’s Funding Page

**

Lo-Fi Tuesday – Alice’s Pick of the Week

Here’s a sweet Lo-Fi track to start (or even end) your Tuesday Right.

Sebastian Kamae and Aylior have collaborated together to produce “Wake Up”

**

Could you spare a dollar to support me? Donate here!

Alice’s Funding Page

**

I need to do a collaboration with this artist!

This painted door in Funchal (Madeira) is beautiful!

Artist: Tiago Machado

Door number: 105

Funchal’s Painted Doors

Find out more about the other painted doors which feature in the city of Funchal’s ‘Old Town’ district (Rue de Santa Maria). Click this link or enter “Painted doors Madeira” into your trusty search engine. There are some absolute beauties to be found.

**

Could you spare a dollar or two? Donate here!

Alice’s Funding Page

**

Opinion: Don’t use Covid-19 as an Excuse for “Closure Culture” of the Arts

It’s not often I hop onto my soapbox, least of all on anything bordering on political. That’s not what 99% of you guys came here for, to be quite honest it’s not really what I came here for. However it has now reached a stage where I cannot sit here in good faith and say nothing.

Back in March 2020, at the start of the first UK wide lockdown, all museums and attractions across England were forced to close. This included Swindon Museum and Art Gallery (SMAG), a small site located in the heart of the town’s oldest district. Like all respecting patrons of art and culture institutions up and down the country, I fully supported this government-enforced directive.

On the ending of the first lockdown in Summer 2020, Swindon Borough Council refused to reopen SMAG. While other heritage sites reopened their doors, awash with safety posters and guidance on basic handwashing, the chains around SMAG’s grand entranceway continued to rust with dejection. Now, in August 2021, dejection has slipped into acceptance, the rust into rot. It feels like culture was never here at all.

Throughout the assorted protests and disjointed cries from local residents, the council has strongly defended their decision, stating this move is only intended as a short-term measure. Other rumours speculate Covid being used as a thin veil of scapegoating the closure on underlying problems the council had been failing to redress for years, including low footfall, costly repairs and accessibility issues. This, and the proposed £33,000 per year saving it would make to the local budget, at a time when the council needs to urgently balance the books.

Apsley House, location of Swindon Museum and Art Gallery, until it’s closure in March 2020. Photo credit: https://englandrover.com/listing/swindon-museum-and-art-gallery/

For the years I have lived in Swindon, I openly admit to being less that a frequent visitor to SMAG. In fact, one of the few visitations I made was on a first date with my (now) ex boyfriend, which dates it very well. It was a long time ago.

I had thicker brows then, but (unsurprisingly) the same clothes.

But, on the few times I went, I enjoyed it. Aside from the unchanging artefact exhibits (complete with the much-loved “Apsley the Croc”), there was also an extensive art collection which went through frequent rotations. I was never a fan of the 1960s extension, bolted on in the 1960s, but as far as the contents was concerned I respected and enjoyed the contents for what they offered. Only in hindsight do I realise how little I fully appreciated what we had; now it’s gone.

In some ways the council’s decision to close SMAG is predictable. For years, concern was tempered with optimism over plans to relocate the museum to a newly constructed “Cultural Quarter”, proposed as part of a 2019 bid for Heritage Lottery Funding. Housed closer to the train station, the site would also contain a digital media centre, dance studio, and an expanded 1200-seat Wyvern Theatre. It was estimated to cost £80 million to build, create up to 1200 jobs and pump in an estimated £35 million into the local economy. Sadly, this bid proved to be unsuccessful.

Artist impression of new museum, situated in Swindon’s “Cultural Quarter”. Phot credit: Swindon Advertiser
Architectural “cut through” of the proposed museum design. Photo credit: Swindon Advertiser

At the time of writing (August 2021), all capital investment projects are on hold. Headlines will often cite the pandemic as the main reason, however the pessimist in me would also cite that by the council’s own omission, work on constructing the theatre alone wasn’t due to start until 2025. In other words, this project was always going to be a slow burner.

During the course of writing this article, I’ve discovered Swindon Borough Council are now considering different options, including having an “Art Pavilion”, and/or touring Art and collections in pop-up spaces, in a format being referred to as “Museums Without Walls”. Citing the museum elsewhere is also being considered. But these conversations are incredibly early in the process, and this response is quite possibly driven by community action by the Friends Swindon Museum and Art Gallery group (and local news coverage). Where the preservation of Arts and Culture is concerned, it shouldn’t take a group of people shouting and screaming to force the hand of local government. When the justification reads as “temporary closure, due to Covid”, was the expectation that we’d all forget? That we wouldn’t care?

Why does it matter?

I get it, not everyone is big into History; not everyone enjoys stuffy old exhibits and random bits of art. And that’s absolutely fine. But here’s the thing, when you’re sat in a boxy little room, planning ahead for the future, it becomes increasingly harder to pitch your town as being a “place to be”, “up and coming” or a “desirable” if with the other hand, you’re eroding the cultural bedrock on which it stands.

It’s why most towns in the UK will have a heritage centre of some size. It celebrates and brings communities together or, to be a bit more cold-hearted, it adds to the sales pitch. “Move to Swindon, we have…houses”, it doesn’t quite butter the parsnips.

Yes, the museum had a small footfall and yes, there were many areas in which it was crying out for improvement, but we’ve slept-walked into losing another thing that celebrated this town for what it was. With it, and an increasing trend of young professionals adopting WFB (Work From Bedroom) jobs, I fear we’ll start losing the point of why any of us are here at all.

So, where does this place the arts and culture in this sprawling town? It seems the future is set to remain uncertain indefinitely. And this post only relates to one type of cultural attraction; novels could be written of the erosion of a good deal of other services (libraries, community groups etc) in the years leading up to 2020.

In light of all this, I have only one thing to ask of the local council; don’t use Covid-19 as an excuse for a move that can only be described as closure culture. Because, at the end of the day, I think we’re all smarter than that, don’t you?

**

Swindon Museum and Art Gallery website: https://www.swindonmuseumandartgallery.org.uk/

Friends of Swindon Museum and Art Gallery: https://friendsofsmag.org/

Petition to Save Swindon Museum and Art Gallery: https://www.change.org/p/swindon-borough-council-save-the-swindon-museum-and-art-gallery

**

Please support unpaid writers, like me, by donating to my funding page: Ko-Fi (formerly Buy Me a Coffee)

**

Fancy Chinese Footwear

So here’s a bit of background for you, on the jazzy socks featured in Why Alice is *Still* Single…Probably.

Back when I was living in London I had the absolute pleasure of attending the Tate Modern’s critically appraised exhibition Picasso 1932: Love, Fame, Tragedy. It ran between 8th March – 9th September 2018.

I didn’t attend “1932…” until late on, days before it was due to close. Why? Because I’ll be honest, Picasso had never really been my bag. I appreciated his reputation and there’s no denying Guernica is a masterpiece of political demonstration, but otherwise I just saw the man as someone who took a lot of credit for not a lot.

Don’t shoot me.

In the end, it was a little voice inside my head that urged me to go, that I’d only regret it if I didn’t. (Also, because at the time I could get in for £5. Minor detail.)

I’m so very glad I went. For one, turns out the man is just as trigger happy on the paint brushes as I am on my blog. In one year he produced over 100 works of art (mostly of his mistress). Secondly, some of his work isn’t too shabby.

Don’t get me wrong, I still had questions. Most of my secondary school art projects were on par with Yellow Belt.

And yet God knows, you never saw my Art teacher praising me as the Second Coming. I took a snapshot and sent it to my Mum, she still insisted I keep the day job.

So what has all this got to do with socks? Well, sometime after the exhibition I was browsing the wonderful world of Far Eastern shopping when I came across some socks printed with the iconic painting The Dream.

I’ll spare you my cobble-dash description on this painting but yep, the way he painted the face is intentional (classic playboy Picasso). More information here.

Short story, shorter, I found a pair of socks online depicting this masterpiece (or, as the sellers called them, “style #3 sleeping lady”). Don’t ask how or why, it’ll be easier for us both. Neither did I enquire as to the copyright, given the same people were also selling “magic man” socks of Jesus.

12 million months later my socks arrived, looking something like this:

First observation – no way in hell were these made for a ladies foot-size 5 (EU 38). Definitely men’s socks. But still, the print detailing was alright and the image had been flipped. Without disclosing the price, (*cough* 99p), you get what you pay for.

I couldn’t wait to try them on.

Then I looked down…

Because the socks were bigger in size than expected, I’d had to pull them up higher, and because my calves are the size of tree trunks, the print was stretched-out even more.

Far from looking mellowed after a bit of artist lovin’, Marie looks genuinely pained from having her face stretched to that of a horse. And let’s not even go there with where that places Picasso’s perceived manhood.

Oh well.

I’m still gonna wear them though. I mean, Picasso socks! How cool is that?!

…What? What’s wrong?

Thanks Col, babe. xx

**

Please support unpaid writers, like me, by donating to my funding page: Ko-Fi (formerly Buy Me a Coffee)

**

London Recalling: The Throwback-set

“The past is a foreign country; they do things differently there” – L.P. Hartley

Tower Bridge

A year ago today, I returned from a London city break and published my first post. I’d spent a year living in the UK capital, so for me it marked a refresh of the best bits of city-living, including art galleries, theatre performances and catching up with old friends.

Days after my return I was left encumbered, battling a mystery illness. Those following weeks I pressed on the best I could, putting it down as another one of those viruses which circulate in densely populated environments. A year later I’m no closer knowing what struck me down; we all have our theories.

Back then, my friends and I had whimsically noted the high-adoption of face coverings being worn by the predominantly Asian tourist base. We mused on the foreign illness that was gripping other continents, but to comprehend the possibility that our own country could already be rife with disease was a step too far. We were better than that, we were British. Instead, we continued to pack ourselves into dense sweats to watch live music, feasted in noisy restaurants and embraced fondly.

If only we’d known.

So, with perhaps a naively romanticised view of what were truly the last days of normality (late January 2020), here are all four parts of London Recalling.

London Recalling – the Mini-Series

Part One – Straight Lesbians, Like Us

Part Two – The Creative’s Curse

Part Three – Solo Sell-Outs

Part Four – Wapping Old Stairs

**

*Donation Station*

Enjoy this content? Please support unpaid writers, like me, by donating:

One-Time
Monthly
Yearly

Make a one-time donation

Make a monthly donation

Make a yearly donation

Choose an amount

¤5.00
¤15.00
¤100.00
¤5.00
¤15.00
¤100.00
¤5.00
¤15.00
¤100.00

Or enter a custom amount

¤

Your contribution is appreciated.

Your contribution is appreciated.

Your contribution is appreciated.

DonateDonate monthlyDonate yearly

**