Maps of London and Beyond E-Book

Adam Dant

• Herausgeber: Batsford
• Kategorie: Geisteswissenschaft
• Sprache: Englisch
• Veröffentlichungsjahr: 2018

Seitenzahl: 170

Beschreibung

A spectacular, large-format collection of Adam Dant's fine art maps giving a unique view of our history and life today.Artist and cartographer Adam Dant surveys London's past, present and future from his studio in the East End. Beautiful, witty and subversive, his astonishing maps offer a compelling view of history, lore, language and life in the capital and beyond.Traversed by a plethora of colourful characters including William Shakespeare, Charles Dickens, Mary Wollstonecraft and Barbara Windsor, Adam Dant's maps extend from the shipwrecks on the bed of the Thames to the stars in the sky over Soho. Along the way, he captures all the rich traditions in the capital, from brawls and buried treasure to gin and gentlemen's clubs.Accompanying text by the artist gives the background to each of the handsome cartographic artworks, revealing his inspirations and artistic process and outlining his cultural allusions. Reproduced in large format, the maps invite the reader to study all the astonishing and often hilarious details within, offering hours of fascination for the curious.Published in conjunction with the Spitalfields Life blog, Maps of London & Beyond includes an extensive interview with Adam Dant by the blog's founder The Gentle Author.

Leseprobe

MAPS OF LONDON & BEYOND

CONTENTS

Introduction

Stories of Shoreditch Old and New

Stories of Clerkenwell Old and New

Stories of Hackney Old and New

Stories of Rotherhithe Old and New

Treasures of Hackney

Shoreditch in Dreams

Shoreditch 3000

Shoreditch as New York

Industrious Shoreditch

The Map of Spitalfields Life

Huguenot Spitalfields

Beasts of Norton Folgate

The Character of a Coffee House

The Trades of Budge Row

The Walbrook Library

Dickens’ Childhood

Shoreditch as the Globe

Shakespeare’s Shoreditch

The Mappa Mayfair

Celestial Soho

A Journey to the Heart of East London

London Enraged

The Guilded Desert

St James’s Square

Soho Square

Sloane Square

Adam Dant’s Secret Cartography of the Pocket Square

The Museum of the Deep

The Centrally Planned London Underground Map

Modigliography

Argotopolis

Art Gang Register

The Mystery of British Culture

The Covent Gardener

Gin

London Digested

Islington Circumscribed

Holborn and the Inns of Court

London Squared

Broadcast Under Britain

Journey to Outlandia Through the Great Glen

Letters From Royal Tunbridge Wells

Modus Vivendi – A Map of Britain and France

Donald Parsnips’ Paris ‘Courant Linguistique’

The Grand Graffiti Map of Rome

About the Artist

INTRODUCTION

The Gentle Author visited Adam Dant in his studio in Club Row off Redchurch Street in East London to learn about the origin of his fascination with maps and the pursuit of creative cartography.

The Gentle Author What brought you to the East End of London?

Adam Dant I came here in 1993, directly from Rome, where I spent a year as the Rome Scholar in Printmaking at the British School. I had often visited Brick Lane and Petticoat Lane markets in the past and, growing up in Cambridge, always entered London via Liverpool Street Station. The badly lit, derelict streets surrounding Spitalfields Market, where meths drinkers gathered around bonfires of orange boxes, seemed very dark and dodgy – quite the antithesis of Cambridge with its culture of Reason, savoir faire and sandstone Gothic pinnacles. On the evening I returned from Rome, the artists Tracey Emin and Sarah Lucas were hosting the closing party for their shop on the Bethnal Green Road, and I bought bottles of brown ale from The Dolphin pub on what seemed to be a very gloomy Redchurch Street, unaware that I would be moving to the neighbourhood within a few weeks.

The Gentle Author Tell me about your studio.

Adam Dant Before I moved in, this building was a minicab office, but it was forced to close because the massive aerial on the roof was interfering with the neighbours’ television signals. I used to take cabs from here, and I have a vague memory of walking past one evening and seeing it being attacked by a mob of angry, scaffolding-pole-wielding rival minicab drivers. Inside it was a mess: a filthy grey carpet with haphazardly trimmed edges and a couple of Space Invaders games in the corner. I lived here in my studio on Club Row for several years while I was a bachelor. When I moved in, I found I had inherited half a dozen phone lines and a stack of business cards with the words ‘Tower Cars, Fully Insuranced’. These ‘fully insuranced’ owners had sawn all the bannisters off the staircase, which had a length of carpet nailed to it in a random fashion. Upstairs, an ancient water heater held together with dried-out masking tape was dripping in the corner, and chicken wire covered the windows.

The Gentle Author Was the whole street like that in the nineties?

Adam Dant Almost everything in the neighbourhood had become a crumbling wreck while under the charge of dubious landlords who were too parsimonious to spend any money on buildings that seemed of no more value to them than burdensome elderly relatives, despite their hidden charms and bountiful legacies.

In one attic, an entire wall wobbled dangerously when I leant against it. ‘Don’t worry, there’s a few more years left in that,’ the landlord told me reassuringly, meaning, ‘If you think I’ll be spending any money on this place, dream on.’ Once I stood with a neighbour and his landlord in an ex-sweatshop, watching flames from a pre-war ceiling-mounted gas heater singe a mildewed flap of wallpaper. ‘Yes, I think the burner seems to be working fine,’ he reassured us, before stepping over a missing floorboard and walking downstairs to his waiting Bentley.

The building adjoining my minicab office was left derelict and empty for eight or nine years following my arrival. Every few weeks, the owner would appear in a van and throw bundles of leather trimmings through the doorway. Rats lived among the crumbling bin bags and mouldering strips of leather inside. During dinner at my neighbour’s flat, one of the rats pushed a loose brick from the wall and stuck his furry face through the gap, which rather spoiled the cheese course. Yet despite regular enquiries, none of these people either wanted to sell or restore their collapsing assets and, even today, some of these buildings have received no attention since the Blitz.

At the time I was working at Agnews, the Old-Master picture gallery on Old Bond Street. Some Irish labourers came into the gallery one afternoon and asked if anyone wanted to buy some oak floorboards. They had been using them as ramps for their wheelbarrows while gutting the old Barclays Bank that was to become a handbag shop. I persuaded them to deliver these concrete-spattered planks to my studio the next day for £100 in cash, and I planed and sanded the hefty, wide boards and fitted them upstairs. Downstairs served as ‘The Gallerette’ for a year. I laid a smart parquet floor to improve the acoustics for an audio exhibition, which sounded muffled without it, and I painted the ceiling in the style of Rome’s Palazzo Altieri one rainy Bank Holiday.

The Gentle Author Did you find yourself part of a community?

Adam Dant Yes, the community I had entered and which coalesced around me was quite tight, due in part I think to the geography of the neighbourhood, which felt like a walled enclave. It was called ‘The Boundary’. The Bengali people who lived on the Boundary Estate worshipped at two mosques on Redchurch Street, and ran the butcher’s shops, grocers and garment factories, sometimes socializing at St Hilda’s, our local community centre, where I went to play badminton and run off pamphlets on the ancient Gestetner printing machine.

Here on Redchurch Street, my neighbours worked mostly in creative fields. There were furniture designers, a stained-glass artist, a saxophonist, a gang of Italian lesbian anarchists who drove round in a Fiat Cinquecento painted in pink leopardskin, a playwright, a documentary filmmaker, a rubber garment maker and many more. They lived in the curious collection of abandoned warehouses, shops and offices, and were to be found every night in the Owl and Pussycat, an ex-dog-fighting pub, where the area’s history was a frequent subject of discussion. Everyone had read Arthur Morrison’s A Child of the Jago and knew the exact location of Shakespeare’s original Theatre. They spoke about the arcane origins of the street names, claimed that a ley line ran directly through the nicest house, and on towards the bandstand at Arnold Circus. I painted a map that was an aerial view of the area for my friend James Goff who had pioneered this neglected neighbourhood even before the artists arrived in Shoreditch.

The Gentle Author How did your map-making evolve?

Adam Dant The second map I made of my neighbourhood was an attempt to encapsulate the history and the lore of the place as a world unto itself. The area had quite distinct edges, so I depicted Shoreditch literally as a distinct world, wrapping the streets around an imagined globe – a reference to Shakespeare, with his theatre and characters populating the streets of my map.

After this, I wanted to create a map of the area in the present day. The idea of creating a map of Shoreditch as it appeared in the dreams of residents came from hearing friends in the Owl and Pussycat describe how, in their nocturnal reveries, they had all shared visions of Shakespeare’s theatre at New Inn Yard. Pursuing Carl Jung’s concept of ‘collective dreaming’, I visited the Association of Jungian Analysts in Hampstead for a symposium on this notion. It was hilarious. A young German woman with a severe haircut and a clipboard took notes as the assembled ragbag of North London Jungians, unaware of just how much they were revealing, described incidents from their dreams.

‘Suddenly my mother appeared and snapped my spectacles in two,’ was a gem offered to the group by a confused-looking, frail and elderly man in a tweed jacket. A gushy young woman with a dense mass of black wavy hair spoke of ‘… a huge wave, which keeps rushing on and on but never seems to break.’ Despite offering gold dust for the novelist, this was not what I was seeking for my map, so I asked local café owners to distribute pamphlets I had produced among their customers, inviting residents to recall any dreams that took place in Shoreditch. Over a few months, I collected descriptions of around 60 dreams set in the neighbourhood and my Dream Cartography of Shoreditch employed the streets and buildings as the landscape for entirely personal subconscious encounters.

The Gentle Author What attracts you to draw maps?

Adam Dant I think my ‘Map of Shoreditch in Dreams’ illustrates why cartography as a visual form appeals to me. The familiar, the quotidian and the eternal elements of a place can all be captured on a map, with the streets, the topography and the features providing the language to manifest a precise vision of a subjective reality, which might otherwise be overlooked in favour of a more mundane perspective.

In producing my maps, I seek to depart from the obvious and superficially useful qualities of traditional cartography. Instead, by pursuing unexpected, unlikely or challenging methods of structuring or rendering the landscape of a place on paper, I hope the outcome is a work of art rather than just a means of getting from A to B.

A map can be a puzzle or a game – a pictorial space in which a viewer can travel through time and project themselves into history. Unlike a photograph or a topographic view, which records a location at a moment in time, a map is a representation of a place where we continue to extend the threads of physical history, even if these are no longer visible due to being buried or trodden underfoot.

Adam Dant’s studio at No. 15 Club Row, depicted in one of its many recent incarnations.

Adam Dant at work on one of his maps.

Even when the buildings remain, the sites of our daily engagements and our cherished urban nooks and crannies are constantly being refashioned and repurposed until they disappear. The layout of our streets is dug up, rationalized and reordered. Consequently, our cities become transformed beyond recognition. Yet even when they are razed to the ground, all the places where we walk are essentially constant. In the widest and most profound sense, they are part of a cosmic cartography that is eternal, infinite and immutable. As long as we live, they live in whatever form we care to imagine them.

The Gentle Author Do you have a favourite cartographer?

Adam Dant John Ogilby, the 17th-century Scottish cartographer, designed his road maps as trompe l’oeil scrolls, depicting solely what the traveller needed to know, cartographically speaking, in order to get from one place to another. The exclusive nature of such maps embodies the familiar notion that what the artist leaves out is as important as what they include. In creating my maps, subdivision and organization of the source material takes place in a manner comparable to an artist laying out colours on a palette in preparation for a painting. This categorization inevitably ends up as lists, which means that – unlike a painter – a cartographer always knows the moment when the work is finished, once the last item on the list has been ticked off.

Of course, there will always be something missing even from the best maps, otherwise there would be no need for explorers. In 2002, during the World Cup in Japan, I produced a map that could be folded up and hidden in the heel of a shoe. In the style of John Ogilby, it showed the most direct route from London to Japan, identified borders, features of topography and the major cities. I provided useful phrases in the languages of all the countries traversed and suggested items which might be collected and used for barter en route, as well as predicting climate and weather conditions to be anticipated along the way, and even offering panels where fans could record the progress of their teams towards the final when they arrived.

The Gentle Author How is it possible to draw more than one map of the same place?

Adam Dant Many of my maps depict the immediate locale of my home and studio. Although my original intention in making a different map of Shoreditch every year was to familiarize myself with the area where I had chosen to live and work, I soon realized these maps were also a means of establishing my presence and identity in this place.

Just as different artists will see the same scene from their own perspectives, similarly one person can re-create the topography of a place in diverse ways on diverse occasions. There are so many contingencies when we look at a map, and we can choose to interpret these contingencies or we can we choose to take the map at face value. An obvious example of this is my invention of the art-historical orthodoxy known as ‘Underneathism’, depicting the world as viewed from beneath.

When the familiar ‘God’s-eye’ view of the Earth is inverted, the resultant perspective appears strangely malevolent. Yet Underneathism also exposes the familiar reality of isometric views – utilized by Google’s street mapping and video games – as equally artificial. Their use of this perspective only appears to us to be the natural order because of our exposure to it through years of constant use.

After a day spent in my studio creating Underneathean views, I found that stepping out into the street was as disorientating for me as it must have been for a Londoner of the 18th century to have been lifted up from the beer garden of a Hackney pub in a hot air balloon.

The Gentle Author What is the future for maps?

Adam Dant In the past, a globe in your pocket, fashioned from intricately engraved and hand-painted gores pasted onto a lacquered plaster sphere and housed in a handsome leather pouch, might represent the apogee of geographic knowledge. I imagine it elicited the same kind of thrill and sense of conquest delivered today by the smartphone app. As new ways of imagining maps constantly supplant the old, the qualities that we find beguiling, artistic, quaint, unfamiliar and perverse in the antique will inevitably be inherited by the app map.

The Gentle Author Are some maps better than others?

Adam Dant Like the canon of painting or sculpture, the canon of cartography – particularly maps of London – is defined by historic moments embodied in innovative fashion and new discoveries described with prescient and appropriate perfection. The resulting maps are often born of unusual imperatives and spring from a particular circumstance. Just such an example is Harry Beck’s 1931 map of the London Underground. Despite millions of Londoners seeing it, using it and touching it every day, it continues to reveal itself as a cartographic wonder.

Unlike a famous painting or sculpture, a map can be altered, annotated, improved and fiddled with many times without impugning its integrity or compromising its innate expression. In the creation of my maps, I often start with a basic template to which I pin and glue various bits and pieces. My work in progress often looks like those huge table maps you see in war films, with models of boats and submarines being pushed across them by smart young members of the Women’s Auxiliary Air Force wielding roulette rakes.

The map becomes fascinating to me when everything is in place, like the frozen moment of theatrical denouement in the tableau for a history painting. The pleasure of casting your eyes over a completed map is contingent on pinning down such a moment in its evolution, while the subject is at its most interesting – such as when the engraver Wenceslaus Hollar depicted the City of London viewed from the South Bank immediately preceding the Great Fire of 1666 and, shortly afterwards, during the conflagration.

The Gentle Author What do you look for in a map?

Adam Dant There are so many different kinds of map! There are maps that fill entire corridors, like those of my supposed ancestor, Ignazio Danti, at the Vatican Palace and then there are maps with covers designed by artists and proffered by London Underground, that you can slip in your top pocket. Although we need maps to show us how to get from here to there, once the map is in our hands we want to feel like the pirate who has the only existing means of finding where the treasure is buried.

The Gentle Author Do you use maps in your daily life?

Adam Dant While on trains, I often spot an odd landmark or an interesting rural scene. Nowadays, smartphones allow me to identify the location of any fleetingly glimpsed idyll immediately and learn the history of the place, and – with the benefit of a long journey – no doubt also the names and addresses of its shops and inhabitants, stretching back for as many years as digitized historical records exist. The research I used to do prior to Texan road trips, regarding the history of the remote boondocks ‘population 45 souls’ en route, has been more than adequately replaced by consulting local historical society web pages on my smartphone.

Yet, despite such convenience and thoroughness, I still scribble maps in notebooks and on scraps of paper to enable me to arrive at the correct location for a meeting. These sketches are more than a practical device, they are also an exercise in breaking free of the tyranny of the compass, since North is not always at the top of the page. Someone once told me that dogs evacuate themselves while orientated towards magnetic North but – having a dog myself – and, observing its cartographic impulses, I can scotch this theory. Why should not a map be orientated according to the direction of travel? Or be rendered according to any other imperative you please?

The Gentle Author What do you say to people who complain they get lost following your maps?

Adam Dant You are holding it upside down!

STORIES OF SHOREDITCH OLD AND NEW

The stories and anecdotes of any neighbourhood are bound to muddle fact and fiction, and through their constant retelling create local legends and colourful apocrypha. The bandstand at the centre of the Boundary Estate, a visionary public housing scheme of the late 19th century, was supposedly fashioned from the debris from the Old Nichol Slum – the notorious ‘Jago’ of countless questionable Shoreditch Graffiti tours. Stories of Shoreditch Old and New (real and imagined) are retold here across four maps that show the streets and landmarks develop through the Tudor, Georgian, Victorian and Modern eras. The maps were made as part of the centenary celebrations for the Boundary Estate, which took place at Arnold Circus atop what the writer Arthur Machen claimed was a prehistoric burial mound.

TUDOR SHOREDITCH

1 Iron-Age man establishes a trackway along what is now Old Street.

2 Christian Roman soldiers worship at the source of the River Walbrook, now St Leonard’s.

3 Sir John de Soerditch rides against the French Spears alongside the Black Prince.

4