Fantastic Beasts: The Wonder of Nature, Natural History Museum, London

A little slice of magic has arrived in the Natural History Museum’s Victorian halls. Step through the archway into a world of unicorns, dragons, and nifflers. This exhibition uses the Fantastic Beasts franchise as its starting point to explore the mythologies of human history that included weird and wonderful creatures, considers the real life animals that might have inspired them, and likens Newt’s work to that of modern day conservationists. It is a wonderfully realised experience with mysteriously opening drawers, projections, and interactive displays that make you feel as though you really have stepped into a magical world.

The first section looks at evolving ideas about magical creatures - mermaids and dinosaurs lurk here, including one named after Hogwarts itself! There are medieval manuscripts, incredible tapestries, and gruesome relics  of generations past trying to profit off of people’s superstitions. You’ll also learn about some fascinating real life creatures that may have inspired travellers’ tales. The one that stood out for me was the giant oarfish - a bony fish that can grow to seventeen metres long!

We learn a little about the life of those who searched for wildlife and how their findings were recorded. There’s a quick nod to the fact some of this activity and the items museums now house because of it, have links to colonialism, but this isn’t explored in any depth.

Next, we’re thrown into a highly interactive section (with plenty of hand sanitiser stations - all, unfortunately, empty) alongside rather too much taxidermy for my liking. Magical creatures are side by side with real animals that exhibit some of the same behaviours, and a few that don’t live up to the folklore around them. The final section looks at endangered animals and the work being done to protect them, ending the exhibition on a thoughtful note. 

All in all a thought-provoking display that has plenty for fans of the Wizarding World and those interested in nature. Its design is engaging and works well for adults and children. Props from the films mix with computer generated depictions of some of the magical creatures, offering a captivating and interactive experience that will satisfy even if you do skip past the non-magical sections (although I’d recommend giving them your attention too - there’s a lot to be learned in a fun and interesting way).

The exhibition is on at London’s Natural History Museum until January 3rd, 2022. If you can’t make it in person, there’s an accompanying exhibition on Google Arts and Culture which is well worth a look.

Paris Part Three – Palais Garnier, Fontainebleau, and the Musée d’Orsay

Bristol

Bristol Botanic Garden

Initially lured to Bristol Botanic Garden by promise of their latest art installation, what I found was a tranquil oasis with a range of unusual plants. The explanatory signs placed around the garden explain the species unique to the area, far more than I would have imagined, and the various pollinators that keep plant species going. There’s also a Chinese Garden where you can learn about the medicinal uses of various plants, and greenhouses full of extraordinary species (including the biggest lily pads I’ve ever seen). Autumn is the perfect time to visit as the range of colours move from greens to yellows, oranges, and reds. It is a peaceful, beautiful place to spend a happy afternoon.

Part of The Impossible Garden

As for The Impossible Garden installation, well, it was a lot of fun. Twelve exhibits designed by Luke Jerram can be found around the garden, each aiming to stimulate discussion on visual impairment and perception. What has resulted is an entertaining yet meaningful display.  One moment you’ll find yourself in an Alice in Wonderland type dilemma, being dwarfed by a picnic bench, the next you’ll be tricked into thinking a sculpture is really an open doorway. Around the corner you’ll find yourself thinking about colour blindness or what it would be like not to be able to see in focus. The Impossible Garden is open until 25^th November but whether or not you’re able to get there for it, the gardens are worth a visit any time of year.

While exploring the streets of Bristol and marveling at the mix of modern and historic architecture we happened upon the University of Bristol Theatre Archive. They welcome the public in to see displays of a selection of their material. At the moment they have an exhibition celebrating two hundred years of the London Old Vic and an exhibition curated by History of Art MA students on the importance of costume in performances by Laurence Olivier and Vivien Leigh.

Clowns: The Eggs-hibition

Conveniently close by is Bristol Museum and Art Gallery. There predominantly for their unusual clown exhibition, we were first distracted by their Ancient Egypt gallery. A fascinating display on life and death in Ancient Egypt with some thought provoking interactive displays.

Clowns: The Eggs-hibition celebrates two hundred and fifty years of the circus with a display focusing on clown eggs – a unique way of ensuring the make-up and costume of established clowns are not copied. Clowns International started this practice over seventy years ago and each egg can take several days to paint. There are also displays of costumes and opportunities to try some clown tricks yourself. For those afraid of clowns this exhibition would be your worst nightmare but there is mention of clowns wanting to reclaim their image of fun rather than fear. Perhaps this exhibition will contribute somewhat, open until 6^th January 2019.

The exterior of Bristol planetarium

Our final educational stop of the day was the planetarium at We The Curious, an attractions that looks fascinating. Planetarium guests can only visit the displays relating to space however, and although small it is packed with interesting facts and interactive opportunities. The planetarium itself is the only 3D one in the UK and on their night-time showings they have two different shows available. Unfortunately an uncomfortable experience (they’re having a refurbishment later in the year which will hopefully make things more comfortable), it was an interesting evening of learning about constellations and what we might have been able to see in the sky had it been less cloudy.

Deers at Ashton Court Estate

On our last day we drove over the famous suspension bridge to Ashton Court Estate. Covering 850 acres and with various activities from pitch and putt to mountain biking it’s bound to have something that appeals. Being on a budget we decided to take a walk in the deer park that offers panoramic views across the city as well as many deer. A pleasant end to the trip.

Opera: Passion, Power and Politics. V&A, London

The exhibition chosen to open the new Sainsbury Gallery at the V&A may not be the obvious choice, but when you step into this immersive exhibition you understand the great potential of the space. It takes you through centuries of opera by focusing in on specific productions and the cities in which they were premiered, fitting the art form into its wider historical context and demonstrating that it is not just a product of the time, but also a catalyst for change.

We begin in seventeenth century Venice with Monteverdi’s L’Incoronazione di Poppea and end with Shostakovich’s Lady Macbeth in Mtensk in Leningrad and the impact of Stalinist suppression, stopping along the way in decadent Paris and battle-torn Milan. Each section has a distinct look to it that sets the location and feel of the subject. In Handel’s London we are treated to a working replica of a Baroque stage, in Milan there are signs of war but also a display by Matthias Schaller of 150 of Italy’s opera houses, reminding us just what an integral role opera plays in their culture.

There are treasures aplenty – costume designs by Dali, a Rodin sculpture of John the Baptist’s head in the Salome section, and a Degas to name but a few. The Degas is accompanied by a caption explaining why the ballet traditionally appears in Act Three – it was the custom for male patrons to take advantage of the dancers before sauntering into the auditorium after the interval. When an opera decided to put the ballet in Act One there was outrage. Snippets such as these give a more intimate glance behind the scenes of the opera.

On entering, visitors are handed what initially appears to be an audio guide but proves to be a beautiful soundscape that automatically changes according to where you are in the exhibition. This combined with the expertly designed space leads you to feel transported through time and place as you travel through the history of opera. Even if you’re not much of an opera fan there’s plenty to get your teeth stuck into here. Quite pricey at £21 a ticket, but absolutely worth every penny.

Opera: Passion, Power and Politics is on until 25 February 2018. For more details, visit the V&A website.