FT Magazine, 15 March 2013
A tour of the hotspots of a creative renaissance that could lift Moscow’s profile as a cutting-edge destination
Despite its weighty historical reputation and the sheer fact of its scale as the second-largest city in Europe, Moscow does a poor job of wooing visitors.
It is expensive, traffic-choked, and can be pitilessly cold, but Russia’s capital is also in the midst of a creative renaissance. In the two decades since the end of communist rule, runaway commerce has been the city’s galvanising force. Now its contemporary art, design and architecture are starting to make the running too, with new arts centres and creative hubs helping to raise the city’s ambitions.
Around 4.5m foreign tourists travel to the Russian capital annually. That’s about the same as Prague, but is a long way behind London’s 15m international visitors or Paris’s 8.5m. Moscow’s city authorities are determined to change that situation and have set a goal of 10m annual visitors by the end of this decade. Reaching that target would catapult Moscow into tourism’s premier league and establish the city as one of the top 10 travel destinations in the world.
Wired, October 2012
Avalanches travel at 130kph and kill 300 people a year. That’s why, deep in the Swiss Alps, scientists are turning to lasers, CT scans and wind tunnels to understand snow better
At 9.30 on the morning of 17 August, 2008, a British former pro-snowboarder turned cameraman was shooting footage in the Southern Alps of New Zealand near the 3,754-metre Mount Cook, the country’s highest peak. Johno Verity had been hired by a UK TV-production team making a show, Gethin Jones’ Danger Hunters, about extreme sports. His job that day was to film Austrian snowboarder Eric Themel in action, keeping pace beside him with a camera as Themel arced on his board through deep snow.
For the previous three days heavy snow had fallen, making a planned ascent into the mountains by helicopter impossible. But on the 17th, the team woke to better weather. “It was epic,” says Verity. “Blue skies, light breeze, perfect light snow. You couldn’t ask for better conditions. We were brimming with excitement.” Themel, Verity and a local mountain guide boarded a red-and-white Eurocopter AStar 350 and touched down on an unnamed peak deep in the range. Following standard back-country safety procedure, the guide shovelled a metre-deep hole in the snow, exposing the numerous layers of snow that had built up over the past days, and checked for any weak layer that signalled avalanche risk. more
Esquire January 2012
In the early Eighties, a breathtakingly original new music genre burst out from the ghettos of the Bronx and captured the world’s imagination. Having achieved an unimaginable success, acclaim and influence, hip-hop’s popularity is now in sharp decline, while its globe-trotting superstars seem ever more removed from their audiences. Is their mid-life crisis nothing more than a blip or is it the beginning of the end for the greatest pop-cultural movement since rock ‘n’ roll?
Thirty years ago two singles were released which marked the end of the beginning for hip-hop. The Message, by Grandmaster Flash and the Furious Five and Planet Rock by Afrika Bambaataa and the Soul Sonic Force came out in 1982. Although both only charted modestly, they set a new standard in artistic ambition for hip-hop that proved hugely influential. For the nascent music form that rose out of the block parties and housing projects of the Bronx and Queens during the 1970s it was a signal moment. Critics had dismissed earlier releases, like the Sugarhill Gang’s Rapper’s Delight and Kurtis Blow’s Christmas Rappin’, as novelties.
Now came the breakthrough, the first significant steps from ghetto subculture to global cultural force. In the decades since then hip-hop has established itself as the most exhilarating music of modern times with its stars a compelling presence in popular culture, commanding ten-times-platinum record sales (Eminem), marquee name movie celebrity (Will Smith) and fallen rock idol status alongside the likes of Jimi Hendrix and Kurt Cobain (2 Pac, Notorious BIG). In tandem, hip-hop has become the lingua franca of urban youth across the world, its sounds and styles adopted by legions of followers in virtually every conceivable location on the planet from Johannesburg and Tokyo to Tehran and Jakarta. more
Financial Times, 16 December 2011
A taste of high-altitude snowboarding three miles up in the Himalayas, with nothing in sight but snow and rock
On my last morning snowboarding in the Himalayas, the Bell 407 helicopter set us down on a narrow mountain ledge at 4,800m. As it departed, huge gusts of snow stirring at its ascent, I was struck by how very far we were from any sign of civilisation. Even on remote off-piste slopes in the Alps you’re never too far away from an abandoned ski pole or chocolate wrappers borne aloft in the wind. But here, at roughly three miles up in the sky – the same height as the summit of Mont Blanc – there was nothing in sight other than snow and rock. Row after row of jagged mountain peaks stretched into the distance, the world below invisible beneath layers of cloud. more
The Telegraph, 15 Oct 2011
With the release of the documentary Black Power Mixtape, interest in the Black Panthers is greater now than at any time since the 60s
Forty years ago, the Black Panther Party was the most reviled and feared political organisation in the United States. Party members took part in dozens of shoot‑outs with the police, leading to injuries and deaths on both sides. Hundreds of Panthers were on trial or in jail for crimes including murder, extortion and drug racketeering. J Edgar Hoover, the head of the FBI, declared them “without question, the greatest threat to the internal security of the country”.
Riven by internal conflict, the party fell apart in the late Seventies, officially closing in 1982. But in the decades since, a remarkable turnaround has taken place in perceptions of the organisation to the extent that today, cultural and critical interest in their image and beliefs has rarely been higher. more
Port, 16 May 2011
Is 2011 a repeat of 1981? Two weeks ago, Britain celebrated a royal wedding with an enthusiasm and patriotic fervour that almost matched the betrothal of Charles and Diana. And today, as then, we can also see a creeping right-wing retro revivalism – an embrace of conservative style, status symbols and values – spreading across British culture.
That’s not to say that 1981 was an inherently conservative year. Sure Thatcher was in power. But it was a time of bitter division: of 2.5m unemployed, riots in Brixton, IRA hunger strikes and the Militant Tendency as a serious force in the Labour party. But if the country was split socially and politically, then it found some solace in the embrace of fashion trends and brands that espoused a traditionalist, un-modern and anti-urban concept of Britishness. This was the age of Laura Ashley dresses and Tricia Guild wallpaper, the Sloane Ranger and the Young Fogey, the Aga as a symbol of enduring tradition. more
London Evening Standard, 8 December 2011
Last year, only one Afro-Caribbean British student was accepted at any of Oxford‘s 38 colleges to study as an undergraduate. Only 27 British students from any origin defining themselves as black were admitted as undergraduates.
This, along with other similarly disquieting information, has been uncovered by David Lammy MP through a series of freedom of information requests.
Through him, we now know that more than 20 Oxbridge colleges made no undergraduate offers to black British candidates of Afro-Caribbean descent last year and that Merton College has not admitted a black student for the past five years — and just three in the past decade.
The colleges have their own rationale for the figures. Black students apply disproportionately for the three most oversubscribed undergraduate courses — economics and management, medicine and maths — which, says a spokesperson, “goes a very long way” to explaining the stats. This is staggeringly complacent. more
The Independent Friday, 22 January 2010
A major retrospective of Chris Ofili’s work opens at Tate Britain next week. Ekow Eshun talks to Ofili about his new-found ‘sense of freedom’
Ekow Eshun: We’re in your studio in Trinidad, so what brought you here and what took you away from London?
Chris Ofili: I felt in some way things had closed down. London was an exciting place to work at one point, because socially it was very progressive – a catalyst. There were very interesting artists making all types of work, but it got to a point where the social aspect became claustrophobic. The fact it was all happening in London became counter-productive, and highlighted the fact that there’s a big world out there, and places where there isn’t so much vanity about the cultural scene. It also got to a point where I felt the work was really known in a public sense, that the division between public and private was like a thin membrane. And I didn’t feel that gave me a greater sense of freedom. The public is not within my control, but the work is, and I wanted to make changes within the work. That couldn’t happen in an arena that was familiar to me. more
The Observer, Sunday 28 September 2008
He may feel at home on the London art scene but could Ekow Eshun, artistic director of the ICA and a keen snowboarder, cope with a snowslide?
If you are caught in an avalanche you have a 95 per cent chance of survival – if you get help within 15 minutes. Unfortunately, the average time for a helicopter rescue crew to arrive on the scene is 45 minutes, which gives you less than a 30 per cent likelihood of making it out alive.
These kind of odds are at the forefront of my mind when I find myself buried up to my neck in snow on a remote slope somewhere in western Austria – even though it is only part of a training demonstration and help is readily to hand. The experience is still sobering and, if I’m honest, slightly scary.
One cubic metre of snow weighs 500kg and the feeling of helplessness engendered by having it piled on top of you is enough to induce rapid panic. Worse, trying to fight your way free – which feels like a rational response to such a situation – will only make things more fraught. While kicking and shoving creates marginally more space for you in the snow, in the thinner atmosphere of the mountains it proves quickly exhausting. And with each breath you take between exertions, the snow collapses further into the cavity around your body: the more you struggle for freedom the more surely you’ll entomb yourself. By the time I am dug free only a few minutes have passed, but I am eager not to repeat the exercise. It is a salutary reminder that we place ourselves in inherent danger each time we venture into the mountains. more
PR Week UK, 10 January 2008
Ekow Eshun rose through the ranks of trend-setting journalism at record speed, before reinvigorating one of London’s premier arts venues. Adam Hill finds out how he has boosted the profile of the Institute of Contemporary Arts.
Ekow Eshun is rightly described as a high achiever. A former assistant editor of style bible The Face and editor of men’s magazine Arena (both before his 29th birthday), he regularly appears as a cultural commentator on Newsnight Review as well as writing for The Guardian and The Observer.
He has penned a highly readable memoir, Black Gold of the Sun, in which he made the startling discovery that he is descended from a slave trader. For nearly three years he has been artistic director of the Institute of Contemporary Arts (ICA) in central London, guiding the institution through a spectacular 60th year in 2007. And he doesn’t turn 40 until May. more
The Observer, Sunday 14 October 2007
Ekow Eshun is known as director of the ICA, and a regular on BBC’s Newsnight Review, but beneath his sharp suits lurk the baggy pants of a snowboarder. We sent him to Japan to indulge his passion for powder
When I first took up snowboarding a dozen years ago, I was a danger to myself and others around me. Having never skied, been on a skateboard (good training for snowboarding) or indeed, even stood on a snow-covered mountain before, I was no more steady or accomplished than a toddler taking its first steps. What I was good at was falling; the performance of spectacular rococo tumbles that would launch me cartwheeling down the mountainside in a mass of flailing limbs. Small children applauded as I careered past, their cheers – and the cries of angry parents – pursuing me down the slopes. more
Financial Times, 7 June 2007
Art has the power to disrupt our relationship with the everyday. So does having your first child – I now live in a permanent state of immanence
I’ve been thinking a lot about the future recently. Four weeks ago, my partner Jenny and I had our first child – a boy called Milo. I am elated, of course, but also conscious that the horizon of my world has contracted to match his – Jenny and I now live in a permanent state of immanence dominated by the prospect of the next feed or nappy change. more
The Independent, 8 May 2006
Last week I read …
Between the Prescott stuff, the Football Association’s tussle for Scolari, and Rooney’s foot, it was an enormously entertaining week. All of these have an amazing element of soap opera to them.
The awards ceremony for Beck’s Futures was last Tuesday. This year the critics and the public loved the winner, Matt Stokes. Seeing that reflected in positive coverage was brilliant.
The New Yorker had a travel issue this week. Anthony Lane wrote about how cheap flights have transformed air travel in Europe and he started by booking a 99p trip to a city he’d never heard of. It was about the experience of travel and how it feels in Europe now. Anthony Lane is British, but he and Seymour Hersh have an assurance and perceptiveness with their writing that I never see over here.
Last week I surfed…
A journalist called Neil Boorman is writing a brilliant blog called Bonfire of the Brands (bonfireofthebrands. blogspot.com). He’s built a certain amount of his identity around brands because he’s a style journalist, and it’s turned into an inspired debate about the stuff we consume and what brands mean. He’s building up to a day in August when he’s going to burn all the stuff from his consumer life.
Aintitcool news.com treats Hollywood with the same affection and obsession that European cineastes do French films. It’s enthusiastic about films many would dismiss as popcorn. more
Ekow Eshun understands what it means to be multicultural. Born in Britain but spending part of his childhood in Ghana, he felt caught between two cultures whilst never belonging to either one. In Black Gold of the Sun: Searching for home in England and Africa, he sets out to trace his past in Britain and Africa in the hope of discovering a sense of place in modern life.
The result is an exploration of modern identity that straddles two continents and forces us to understand ourselves in ways that look beyond the colour of our skin. It also proves that we are not always who we think we are.
Black Gold of the Sun was nominated for the Orwell Prize for political writing, 2005.
It was described by The Independent as “ambitious in scope, impressive in execution and wide in appeal, a beautifully written, intellectually vigorous study of belonging.”
You can read reviews of Black Gold of the Sun here, here and here.
New Statesman 01 August 2005
This has nothing to do with the Blitz spirit, writes Ekow Eshun. It is about a modern society founded on mutual respect
During the past few weeks, as London has endured attack and uncertainty, it has begun to seem to me that another conflict has been taking place – this one between opposing views of the capital itself. On the one hand there is the notion, propagated by the tabloids and sentimentally inclined commentators, that London’s response to the bombings resembled nothing so much as a resurrection of the Blitz spirit – the whole city coming together in a concerted spectacle of defiance and comradeship. As the Daily Mirror put it: “We can take it. If these murderous bastards go on for a thousand years, the people of our islands will never be cowed.”
Against that perception is the idea, asserted by Ken Livingstone among others, that the threats to London have revealed its true character as a multicultural world city, where 300 different languages are spoken by some seven million people, all of them united by a common argot of tolerance and acceptance of difference. more
The Guardian, Saturday 9 July 2005
Gabriel Gbadamosi finds grounds for hope in a black Briton’s search for identity in Black Gold of the Sun by Ekow Eshun
Ekow Eshun’s book comes in reaction to the pervasiveness of British racism, his brush with mental ill health – six times more prevalent among black people in Britain than in the white population – the respite he found in hard work and his resulting elevation to editor of Arena magazine, TV pundit and, most recently, artistic director of the Institute of Contemporary Arts in London. He is part of a new and startlingly successful generation of black British personalities in the arts, alongside the Turner prize-winning artist, Chris Ofili, who has designed the jacket for Black Gold of the Sun. more
The Independent, 3 June 2005
Review by Diana Evans
That question – ‘Where are you from?’ – has hounded and perplexed the black diaspora for decades and even centuries. It is a question that is asked everywhere, in conversation and inside the head. It has infinite responses at the same time as having no answer. It’s such a simple, obvious, exhausted question, that to use it as a basis for a memoir about black identity becomes an outrageously brave thing to do.
That question – ‘Where are you from?’ – has hounded and perplexed the black diaspora for decades and even centuries. It is a question that is asked everywhere, in conversation and inside the head. It has infinite responses at the same time as having no answer. It’s such a simple, obvious, exhausted question, that to use it as a basis for a memoir about black identity becomes an outrageously brave thing to do. more
London Evening Standard, March 11 2005
HE IS the adept cultural pundit regularly called upon to pronounce on high art or racial politics. Now, rather than dissect other people’s output from the comfort of the studio sofa, Ekow Eshun is taking on a troubled artistic project of his own. By David Rowan
Eshun is the surprise choice as the new artistic director of the Institute of Contemporary Arts. The 58-year-old institute, in its prime location in The Mall, may still be a favourite haunt of London’s trendiest students, but critics are questioning its lack of focus and cultural influence. The post was widely expected to go to an acclaimed Swiss curator, Hans Ulrich Obrist, whose terms were rumoured to be excessive for ICA budgets. So is the home-grown style journalist the man to give the ICA a renewed purpose?
His previous work, as a member of its governing council, included telling Ivan Massow that he had to resign as chairman, and then publicly calling Massow a “pillock”. So when he was appointed this week, he knew as well as anyone the pressures he will now face confronting its internal splits, tarnished critical reputation and financial uncertainty.
New Statesman, 14 February 2005
Refugees are a despised underclass, vilified by politicians and the media. But few people choose exile, writes Ekow Eshun. Our hostility only intensifies the pain of displacement
I was halfway through Caroline Moorehead’s Human Cargo when the Tory leader, Michael Howard, placed his advertisement in the Sunday Telegraph calling for a cap on immigration into Britain. Opportunistic politicians who exploit the public’s fears about asylum-seekers are among the minor villains of Human Cargo. Indifferent and cynical as such figures are, they occupy Moorehead only in so far as they offer evidence of how little understanding and sympathy is extended to refugees. Since the mid-1990s, the total number of displaced people worldwide has fallen from 19 million to 12 million, yet during the same period, Moorehead argues, global attitudes have hardened. Refugees have become a despised underclass, vilified by politicians and the media, and defended only weakly by an ineffective aid system. more
The Observer, 6 February 2005
Does Sir Ian Blair really think storming lawyers’ dinner parties is efficient use of police time?
Last week Sir Ian Blair vowed to get tough on middle-class drug users. ‘I think there are a group of people in the capital who believe that they are in some way taking harm-free cocaine,’ said the new commissioner of the Metropolitan Police. ‘People think it is OK but I do not think it is OK. We will have to do something about it by making a few examples of people.’
His words were supposed to be a declaration of strength. Instead, they sounded like an admission of impotence. Blair is right: there are some who think recreational cocaine use is harmless. The problem for him is there are tens of thousands of them. The most recent figures from the British Crime Survey showed 624,000 people in England and Wales admitted taking cocaine within the past year and 275,000 said they had taken it in the last month. more
Hip-hop – As rappers name-drop more and more labels, Ekow Eshun finds the true meaning of bling
The argument over causal links between pop culture and social behaviour is a well-rehearsed and inconclusive one. Yet it’s a debate that is tirelessly rehashed when it comes to rap music. Not long ago, David Blunkett and Kim Howells both denounced the dangerous effects on young people of songs by “macho idiot rappers” such as Jay-Z and So Solid Crew. more
New Statesman, 01 January 2005
Writing a memoir – When Ekow Eshun visited Ghana in search of his roots, he was troubled by what he dug up
The BBC’s recent television series Who Do You Think You Are?, in which famous people explore their family history, has delved into some dark places. David Baddiel traced his grand-parents’ flight from Nazi Germany. Bill Oddie discovered that his mother had been wrongly locked up in a mental institution and his grandfather had contracted throat cancer from working in a cotton mill. Both learned that when you go digging for roots, you often come up with something tangled.
I could have told them as much. For the past two years, I’ve been writing a memoir about searching for belonging in England and Africa. As research, I spent part of 2002 travelling around Ghana, where my family originates. I was born in London and, by returning to my roots, I hoped to find the sense of home that had eluded me while growing up in a white country. more
New Statesman, 11 October 2004
Black culture – As the Victoria and Albert Museum launches a show examining black British style, Ekow Eshun wonders if such a thing still exists
Halfway round the array of hats, hairstyles and dresses on display in the V&A’s exhibition “Black British Style”, I realised the contradiction at the heart of the show. “Black” suggests a homogeneous identity defined by skin colour. “Style” is the antithesis of that notion: it is predicated on individuality. The truly stylish define themselves in opposition to the group. Think of, say, Oscar Wilde. Or, for that matter, many of the figures featured in this show. Here are images of rakish young men at blues parties; groups of girls in matching outfits at nightclubs; the drum’n'bass artist Goldie decked out in diamond rings and a mouthful of gold teeth. If all they have in common is the colour of their skin, then the V&A can’t claim to have curated the show at all, but has merely brought together an assortment of pictures and memorabilia. more
The Observer, Sunday 23 November 2003
Ekow Eshun says Michael Jackson presents himself as the victim of a vengeful media
When the world’s most famous pop star stands before a state of California judge in January, he faces the final verdict of a public trial that has lasted for two decades.
The singer is accused of multiple counts of lewd and lascivious conduct with a child under 14. Innocent or guilty, what will be revealed in the courtroom is the real face of Michael Jackson.
For the moment, with the singer out on a bail of £2 million, it’s still hard to say who he truly is. Not that we’re short of choices. Through the tabloids we have become familiar with ‘Wacko Jacko’ who sleeps in a hyperbaric chamber, dangles his baby out of a window, dyes his skin and shares a bed with young boys. Jackson himself would prefer that we saw him as the real-life Peter Pan, at his happiest riding the Ferris wheel in his 2,600-acre version of Never Never Land. more
Tate Online, November 2003
When I first saw Sonia Boyce’s piece From Tarzan to Rambo, I was aware of a faint itching somewhere at the back of my head. I knew I was trying to remember something but I couldn’t think what. Images from her work stayed in my mind: the Thirties-style pickaninny child; the mohicaned savages in the bush; Boyce’s own face, by turns startled and reflective, sketched on paper and shot on film. A few days later the scratching in my head turned into what felt like a swarm of angry bees buzzing and clamouring for attention. Drawn back to the artwork I started to think about what Boyce had inscribed beneath the surface of the canvas. Two ostensibly disconnected names came to mind: Hegel and Tintin. more
The Guardian, 27 May 2000
Dr Dre helped pioneer hardcore hip-hop: violence against “bitches”, the love of guns and fast cars. Now a millionaire father-of-two, he says he’s turned over a new leaf – all that gangsta stuff was just about marketing, pleasing the fans. So who is the Dre of today? And has he really managed to break free from his past?
I’m on my way to meet Dr Dre, and I have a song in my head. It’s called Fuck You, and in it Dre explains, in some detail, how he just wants “to fuck bad bitches”. The streets of Los Angeles glare white in the midday sun. I struggle into the plush recording studio where Dre is working. We talk for a while about his latest album, Dr Dre 2001.
He recorded it, he tells me, because he felt misunderstood. “People definitely had the wrong idea about me. A lot of people were saying I was a mean cat, I disrespected women, a lotta bullshit, a lotta nonsense.” more
New Statesman, 10 April 2000
London should stop selling faded pomp and circumstance to tourists and get modern. Ekow Eshun offers his personal itinerary
How is it that London chooses to advertise itself on the basis of its historic monuments rather than its vibrant contemporary culture? Millions of tourists arrive each year only to be herded like dumb cattle in the direction of Madame Tussaud’s, Big Ben and Buckingham Palace. Little wonder that, despite vociferous attempts at rebranding, Britain is still seen from abroad as uptight, insular and tradition-bound. Capital-dwellers know that the London tourist’s visit, with its narratives of pageantry and past empire, bears little relationship to the complex, culturally diverse modern city in which they live and work. So what should be on the map for the discerning 21st-century tourist? more