Yes, you read that right. The Science Gallery, NOT the Science Museum. London’s got a new museum (at least, I think it’s new – more on that in a little while), and as usual,
I’m first on the scene I visited the museum as soon as I found out about it, via a London Museum Development newsletter I get at work, because I am definitely not high on any publicity department’s list. “As soon as I found out about it” turned out to be a week before their first exhibition closed, which is why I am sadly blogging about it too late for anyone to visit. But they will have future exhibitions, with a new one every quarter, so I might as tell you about the venue anyway for future reference.
The Science Gallery is located on King’s College London’s Guy’s Campus (and as King’s is my alma mater (I think? Is your alma mater the first place you went to school or just anywhere you did a degree?), you’d think I might have heard about it through them too, but no dice. They can sure send me plenty of emails about donating (never gonna happen), but can’t seem to send ones about things I might actually be interested in) – if you go out the Shard entrance of London Bridge Station, you will find it directly in front of you, just across the street (the Shard will also be directly on top of you, looming menacingly). This means it is also conveniently near to Borough Market, so you can easily pop over for a toasted cheese from Kappacasein after, which I definitely did.
The Science Gallery appears to be part of a larger international organisation, with branches in places like Dublin, Melbourne, Detroit, and Rotterdam. Judging by their website, the London Science Gallery seems to have been active as a project since 2014, but if I understand it correctly, this is their first exhibition based in this gallery space. And looking at their exhibition programme for the year, it appears to be Wellcome Collection-esque, with a sort of science-art hybrid going on that I quite like, and I especially like that admission is free. The exhibition I saw was called “Hooked” and explored addiction through science and art.
Each section of the gallery was meant to have a different theme, but I didn’t necessarily get that throughout. The first room was called “Natural Born Thrillers” and was supposed to be about the sorts of things people can get addicted to, but that also seemed (more or less) to be the theme of the second section. Nevertheless, it got off to a promisingly interactive start with a machine with a slot you could insert a coin into to see what happened (someone had thoughtfully left a 2p coin on top, and since the whole point of the machine was that the coin came shooting back out at you with surprising force, it could be used again and again). There was also a virtual reality mask that allowed you to watch drunk mice, and a video of a guy playing Playstation whilst coming down from speed. The table made out of sugar grossed me out a little because of all the sticky spilt tea around it, but not quite as much as the marshmallow pants (not entirely sure what addiction those were representing. Perhaps something sexual?).
The second section was quite dark and moody and seemed mostly to be focused on the addictions unique to modern life, like video games and mobile phones. There was a game that tracked your eye movements (not entirely sure to what purpose) and a room full of flashing low battery symbols from phones. I did manage to resist pressing the “Do not like this” button on Facebook, and didn’t watch the video about twisted fairy tales because the room looked quite full and I didn’t want to step on anyone, despite the presence of comfy looking cushions in front of the screen.
The third section, entitled “Free Will,” was meant to be addressing the question of who was to blame for addiction, but I didn’t really get that from the “Hashish Club,” which was a hallucinatory video meant to recreate the experiences of 1840s pot smoking intellectuals. I did like standing in front of the Victorian parlour video screen with the trippy green lanterns though. I listened to “Short Periods of Structured Nothingness” for quite a while, which featured a woman talking about her experiences with her deadbeat dad after her parents divorced, and was eagerly awaiting the opportunity to answer some questions myself that I’d been promised early in the conversation (well, I say conversation, but I was just listening to a recording), but it went on for too long and I hung up as other people were waiting.
I have to confess that I didn’t understand the suit hanging in a geometric frame in one corner of the gallery at all, but I thought the curtain made from wedding rings in “Divorce Index” was quite cool, though I thought tying it into addiction was a bit forced (apparently it was chosen because addiction can often lead to divorce, but that didn’t really come across in the piece).
The final bit of the gallery, called “Safe from Harm,” featured a series of short films called “Twelve,” where people struggling with addiction re-interpreted scenes from films (which sounds like it should have been entertaining, but it was actually quite depressing and bleak) and a very frustrating video of someone only scrubbing one tile of a tiled floor clean, while I was sitting there dying for them to wash the whole damn floor. There was also a reading room where people could read books about addiction or share their own experiences of addiction.
I assumed we were finished at that point, and was already rather pleased with what I’d seen – even though I didn’t always understand how the pieces tied to the theme, it was interactive and entertaining, and most importantly, free, so I was glad I’d stopped in. But then we went downstairs to check out the shop and encountered the final piece of art, “AGAIN” by Lawrence Epps. I’ve seen those coin pushing machines plenty of times at the seaside, but never played because I hate gambling. Doesn’t stop me from watching the very stupid Tipping Point though, because those machines are mesmerising. Well, “AGAIN” was free to play – staff members gave you a small envelope full of tokens if you asked, and if you won any tokens, you got to keep them. Apparently some of them were meant to be actual 24 karat gold, but all the ones we won were just terracotta. They had loads of different designs, and I desperately wanted a white one, only to have one fall and get stuck in the chute, so I spent most of my other tokens trying to get it out. Unsuccessful, and the one staff member said the artist claimed it was purposely supposed to do that, but she suspected it was just a design flaw. Either way, it did demonstrate the power of addiction in a very clear and disturbingly fun way. (I stood there for a good fifteen minutes feeding in tokens trying to get that damn white one – so long that everyone else had moved off, but I did go home with some terracotta ones at least.)
This was overall a very fun and interactive experience (more interactive than the Wellcome usually is, I have to say, but I still love the Wellcome) and I will definitely return to see their future exhibitions (the proximity to Borough Market doesn’t hurt, because Padella and Kappacasein are two of my favourite places), including the next one, “Spare Parts” which opens at the end of February (and I will try to see that one in a timely enough fashion that other people can still go after I blog about it). It’s always exciting to see a new museum open in London, and if it’s free and has constantly changing exhibitions, so much the better, though I am a little upset this wasn’t a thing when I was a student, as it could have provided me with some valuable museum experience (so maybe it wouldn’t have taken me like 8 years to find a job in a museum)! 3.5/5 for “Hooked.”