Review: Barbican’s Japanese House provides a warm welcome

We might be a little late to the party, but after a busy period of Easter holiday fun, we finally gave ourselves the time to visit Barbican’s first major UK exhibition of Japanese domestic architecture.

The Japanese House: Architecture and Life after 1945, promises a feast of modern and contemporary design. The exhibition features over 40 renowned architects as well as a centrepiece in the form of a full-size recreation of the 2005 Moriyama House, designed by award-winning architect Ryue Nishizawa.

If like us, your knowledge of contemporary architecture could scarcely fill the back of a matchbox, do not fear. The beautiful thing about this exhibition is its accessibility. You definitely don’t need any prior knowledge to appreciate what’s on offer, all you need is a love of design, an interest in the built environment around you and a keen sense of adventure to let yourself and your companion explore.

So, what should you expect?

A brilliant activity sheet
Anyone who has visited Barbican Art Gallery before will know that it is a sizeable space. On this rare occasion, however, the team have played an absolute blinder and devised a fantastic activity sheet to guide you through the more technical upper floor. Starting in the upstairs gallery Inhabiting the Experimental, there’s a chance for little ones to choose their favourite house, peer inside curious models and take some inspiration to draw or design their own.

Plenty of video installations
For my young companion, any screen based installation is a big draw, and there’s plenty of this on offer to keep wide eyes mesmerised. There’s film snippets of Japanese home dramas – devised with minimal plot to simply show off abodes, and a host of beguiling manga cartoons, with video cleverly peppered throughout the exhibition, allowing you time and space to take-in the panels on the wall.

An awe-inspiring Japanese House
Downstairs, the exhibition centrepiece will be met with a shriek of excitement, followed by an opportunity to weave a curious path through Mr Moriyama’s house and garden. Whether marvelling at his well stocked kitchen, perusing his extensive belongings or giggling at his tiny bath, there’s more fun than Ikea to be had here. Move from room to room and ponder the incredible use of space, as well as exploring its garden pathways, hidden terraces and private courtyards.

A tea house as good as a tree house
Set within the garden of the Moriyama House, the tea house is a new commission designed especially for the Barbican by architect and historian Terunobu Fujimori. Featuring a beautiful hand-charred timber exterior, visitors are invited to play ‘house’ through climbing up inside its stark plastic interior and peering out of the circular tinted windows, waving at fellow visitors below.

The gallery environment is also transformed every 30 minutes by lighting that mimics dawn to dusk, ensuring that every visitor can experience the magic of these buildings across any one day.

What should you be aware of before visiting with young children?

Rules are rules
Although very family friendly and highly interactive, the ‘no touching, just looking’ rule should still apply. Yes, you can weave through the arches, climb stairs and explore rooms, but discourage little ones from touching the models or moving items found within the house. If cushions, futons and bunny chairs are devoid of items, you’re welcome to try them out for size, but steps obstructed with books and nik-naks stuck down with glue, give a good indication of what’s acceptable here.

Stick to the paths
The garden area has some fun pathways marked out by stones and interesting doorways to pass through. Be mindful not to walk on the stones, or open and close doors, to protect little fingers and delicate exhibits.

Lose the shoes
When entering the tea house, shoes have to be removed and set aside, but should be hastily put back on as you exit. It’s also one way in and one way out, with numbers limited at busy times.

With such a wealth of space beyond the gallery itself, from the foyers to the fountains, the conservatory and the Curve, the Barbican is such a fantastic destination for families. It is, however, easy to be put off by the often over-zealous front of house team, or the unfavourable reactions of the regular patrons. The experiential nature of this exhibition, however, appears to have turned this temporarily on its head, attracting far more younger visitors and with it, a slightly more relaxed approach from the hosts. Add this safety in numbers aspect, together with the peace and serenity that ensues from exploring a home unscathed by tut and toys, and this house will feel like a home in no time, and one you’ll want to return to again, and again, and again.

The Japanese House Architecture and Life after 1945 is at Barbican Art Gallery, Barbican Centre until 25th June.
Admission Adult £14.50, Children 14+ £10, Children under 14 Free.
Sat to Weds 10am to 6pm, Thurs & Fri 10am to 9pm.
Bank Holiday times vary. See website for details

Review: Tate Modern’s Ten Days Six Nights is fun while it lasts

If only it was on for longer, I thought as I exited BMW Tate Live: Ten Days Six Nights at Tate Modern this morning. This ten-day extravaganza of installations, performances, film, music and choreography, is also a huge missed opportunity, given it finishes before the Easter holidays, despite the mammoth efforts of their curatorial team.

Since opening the new Switch House last summer, performance has been right at the heart of Tate Modern’s refreshed offering. Staged in the unique space of The Tanks, this exhibition celebrates them coming into their own, proving that art can create participation, and can be experimental, yet informal, playful and fun.

So what can you expect to see in daylight hours?

Isabel Lewis will be taking over the Tanks with her site specific installation, which unfolds between the Lobby and the East Tank as the days go by. Dotted with strange plants and impromptu dancers, she aims to host any visitors with everything from music, to food and scent, ensuring that you don’t leave without taking part in some way, shape or form. Her beguiling piece Occasions 2017, was housed in the East Tank today, providing an even greater expanse of foliage and choreography, to the backdrop of Fred Moten and Wu Tsang’s night-time musical and poetic accompaniment.

Moten and Tsang also provide a superb contribution to daytime proceedings, with their interactive installation Gravitational Feel. Using fabric and sound to trigger ‘chance events’, they’ve filled the rear of the Transformer Galleries with knotted fabric rope, suspended from the ceiling on moveable heads, inviting visitors to touch and animate the strands by passing beneath and between.

CAMP, a collaborative studio founded in Mumbai in 2007 are also sharing the space, demonstrating the power of a ‘window’ in a range of interesting ways. From their CCTV spy films taken at the Arndale Centre, to their oversized LED representation of an overheard conversations, their work challenges us to think about the role of electricity and surveillance in our modern lives. Particularly fun is Windscreen 2002, whereby standing in the space between the framed paper squares and the wall fan, will quickly reveal you as the subject of the work.

The centrepiece of the exhibition is Fujiko Nakaya’s immersive fog sculpture, taking pride of place outside on the first floor terrace. The daughter of an inventor of the artificial snowflake, it’s ironic that her work now centres entirely on creating fog. The misty water vapour cuts a ghostly figure of those who choose to interact, creating something similar to Gotham City from the impressive skyline behind (complete with shrieks of terror by water-soaked bystanders).

What’s great about Ten Days Six Nights is that for once, visiting families can put aside their usual feelings of FOMO. With so much of the fun happening in the day, you’re bound to chance upon something fun, even if you’re dropping in as part of a random South Bank mosey. As the name suggests, however, there are also six nights of spectacular work, so if you’re lucky enough to get a night off, re-live the nineties, with Lorenzo Senni’s laser and sound installations, focussing on the hypnotic and repetitive aspects of trance music.

Ten Days Six Nights is at Tate Modern from 24th March until 2nd April 2017
Open daily 10am-6pm, until 10pm Friday and Saturday
Admission Free
See website for details of what’s on each day and each night

Last chance to see: Siobhan Davies Dance: material/rearranged/to/be

We absolutely love the Barbican. Granted, we are very guilty of forgetting to check-in on what’s on most of the time, but if you’re brave enough to venture into quite a grown up domain and wade through the sea of remote workers, you’re sure to be rewarded with an awe-inspiring space for youngsters to explore, as well as a brilliant (if a little sporadic) programme of family friendly theatre, film and art.

Inspired to reacquaint yourself with the space? Well be quick, because for just over a week (finishing this Saturday) Siobhan Davies Dance has transformed the superb (and free) ground floor Curve gallery into a wonderland of installation and performance art, which plays out as an ever-changing moveable feast.

So what’s it all about?

Having evolved from a dance company into a contemporary arts organisation, Siobhan Davies Dance: material/rearranged/ to/be is a performance installation which explores the relationship between science, movement and the mind, as well as the interaction of art with the space itself. The installation features 10 artists, each performing different works at different times, and in different sections of the Curve. Generally there will be more than one performance going on at a time, with film projections and sculpture seen alongside the performance art.

What’s to love?

The performance art itself is absolutely mesmerising for younger viewers. It was thrilling when Helka Kaski made eye contact with my little one as part of her performance Figuring, while the giant shadows cast behind Charlie Morrissey during his performance Actions from the Encyclopaedia of Experience, made this work all the more compelling. It was interesting to see how much my youngster was keen to copy and mimic postures.

Being completely free and on a 4 hour loop, it’s a much less intense gallery experience for you and the kids. With so many performances going on as you journey through the space, we spent a good half an hour exploring, before moving on to have a break in the cafe and a mill around the site, returning later to see new and different material.

Notes for visiting families

Gallery attendants at the Barbican look panicked by the very presence of youngsters, so reiterate the rules of the gallery with little ones just before you head in (no touching, just looking) and reassure them that nothing will be compromised.

The moveable set which forms a backdrop to the performance pieces, can be tricky to negotiate but forms a really interesting layout, and don’t worry if you want to move past before the end of the work. Plenty of visitors were braving a quick pass in front of projectors to get to the next piece. You’re not spoiling it any more, just because you’re choosing to move on with children in tow.

Beware of Matthias Sperling’s Loop Atlas. This sequence is all about the relationship between the mind and the body, but Sperling’s bearded appearance, accompanied by dark glasses, together with the repetitive movements had a slight air of insanity. It’s brilliant to watch but did slightly spook my sensitive 3 year old.

Finally, it took us a while to work out that the headphones on the audio installation aren’t just for grown ups. They are on a pulley, which means they can actually be lowered and listened to by those in wheelchairs and those under 4 feet tall, and we all know how much kids love a bit of audio.

Siobhan Davies Dance: material/rearranged/to/be is on at the Curve, Barbican Centre
Exhibition runs until 28th January
Admission free
Mon to Thurs 12 to 6pm, Fri 2 to 8pm, Sat 12 to 6pm

Pee-hoo! Moomin retrospective is a very fine adventure

I have hazy but happy memories of the Moomin TV series from the seventies and eighties, yet through having my own children it’s been fantastic to relearn and relive some of these magical tales in print. Taking things a step further, from now and until April 2017, Southbank Centre is giving visitors young and old a chance to step inside the world of the Moomins, in a brand new immersive exhibition.

Part of their year-long exploration of Nordic arts and culture Nordic Matters, Adventures in Moominland is the first major UK exhibition devoted to these adorable hippo-like characters and also provides fascinating insight around their artist and creator Tove Jansson and the era in which they were devised.

So, what’s to love?
No having to digest lengthy information. This exhibition is a guided experience, which really helps simplify some of the more complex themes for younger visitors, as well as providing memorable storytelling and group camaraderie!

It’s a multi sensory experience mixing audio, visual and at times the aromatic! The variety of worlds created (in partnership with set design specialists Front Left), are complimented with lively narrative (featuring Sandi Toksvig), evocative music, brilliant animation and even tropical rainforest smells, breathing life into the humble drawings and archive materials from Tove’s studio in Helsinki.

Permission to play. You’ll be asked to interact in so many different ways, from seeking out a hidden ruby in Moominvalley Forest to jumping up and down on the raft. Together with the tactile arrangement of the Moominvalley Forest in Room 5 and the enticing picnic in Room 8, you’ll struggle to drag them out after the average 6 or 7 minutes allocated per room.

What do you need to know before you book?
The exhibition has an age restriction of 7+. This is justified, especially given the darkness of some rooms, and the themes (and sounds) of war explored in Room 4: The Cave

The experience is almost an hour long in total, with one route in and out. There are emergency exits in each section of the show just in case you need to bail, but using the toilet isn’t going to be the best reason to put these into action, so make sure they go first! This is yet another supporting reason for the age guidance.

Passages are narrow and rooms themselves are small. You will need to consider how claustrophobic you or the children might be, especially when passing through in a group of up to 13. Wheelchairs users can enjoy the exhibition but wheelchairs will need to be less than 80cm wide to pass through. Buggies are not permitted. This is a group experience but there must be a minimum of one adult for every three children.

The exhibition is already selling into March next year, but there’s no need to worry that it will all be trashed by the time you get to it, especially with the frequency of tours running. Southbank Centre has made a contingency by operating for only half the day on a Monday, giving them valuable time to reset and restore.

Outside of celebrating some core Nordic principles such as equality, diversity and play, the exhibition also highlights what a pioneering woman of her time Tove was; working, travelling and braving new relationships, in an era of immense social and political change.

Where Adventures in Moominland also triumphs is in its ability to capture all the excitement and playfulness of these beautiful stories, without losing any of their beauty or serenity. According to Artistic Director Jude Kelly, it also serves as a timely reminder of how important it is to provide fertile thinking space for families to enjoy the arts together, with every single one of us being capable of drawing on our own personal story, to bring out the artist inside.

Adventures in Moominland is on until 23rd April 2017
Southbank Centre, Belvedere Road, London SE1 8XX
See website for details of admission times and charges

A pop-up Moomin shop is now on site and there are also participatory activities and workshops running as part of Imagine Children’s Festival in February half term

Other events and exhibitions have also been planned for Dulwich Picture Gallery and Kew Gardens.

William Kentridge: Thick Time – A quirky sideshow you’ll never want to end

I was hugely disappointed to not be able to attend the opening of William Kentridge: Thick Time at the end of September. Work commitments, children’s parties and general life admin took over and before long it was mid-November and we still hadn’t made it to the Whitechapel Gallery for this acclaimed exhibition by the South African artist.

Drawing inspiration from across the entire arts spectrum, from early black and white cinema to animation, puppetry and literature, with content universally suitable for all and set out at scale in 6 installation-style rooms, this exhibition showed a lot of promise for family visitors.

After pondering the intriguing (yet static) Untitled, Bicycle Wheel (2012) for a moment, we could hear exciting things happening just around the corner. Heeding the caution from the gallery staff regarding the volume of musical accompaniment, we were met by The Refusal of Time (2012); a multi-sensory installation centered around a loom-like generator, whose audio intensity might feel somewhat intimidating for the very young.

We joined the installation at the point where the metronomes began to gather pace alongside the industrial sized breathing sculpture, drowning the room in hypnotic sound and building to a crescendo so irresistible, we were quickly drawn in to keep time. By this point my young companion (age 3) needed to escape, yet the hypnotic nature of this installation meant that she continued to drag me back at least three times, allowing us ten more minutes of the total thirty minute mediation on time and space.

Moving past the giant tapestries (which were a surprise hit), we huddled into a cosy corner to watch Second-hand Reading (2013), a mesmerising flip book film of illustrations which sprung to life on the pages of the Short Oxford English Dictionary, all accompanied by a dreamy soundtrack reminiscent of Pink Floyd’s The Great Gig in the Sky.

Don’t miss the cleverly doctored staircase as you head up to the brilliant (but slightly creepy) miniature model theatre, Right Into Her Arms 2016. You’ll no doubt be side tracked by the social sculpture on the stairwell, a permanent exhibit which never seems to tire as a secret hideaway for younger ones exploring the space.

It’s the second floor where things get really playful; not just in the form of a sensor activated sewing machine for those who get too close, but in the intriguing array of doors which pay host to Kentridge’s politically charged O Sentimental Machine (2015) – a five-channel video installation with four megaphones. The doors are obviously out of bounds, but visitors are welcome to contemplate this atmospheric montage of historical events on the rug or the chairs provided.

There’s nothing more fascinating than watching an artist at work, and the show culminates with our personal highlight from Gallery 9, a 9-channel video installation, capturing the creator. Here, work is both created and uncreated, from magical vanishing murals to child-like animations such as Journey to the Moon, this work feels so alive, we were convinced that when the artist comically climbs a ladder in 7 Fragments, he would pop right out of the top of the screen and right into the room beside us. Every screen captured my little one’s imagination, so much so that it gifted me at least ten minutes to absorb what was on offer here and even more time enjoy and discuss it together.

Exciting to navigate and highly visual, Thick Time has the feel of a curious and quirky sideshow that you’ll never want to end. Enjoyably noisy and endlessly entertaining, this exhibition just keeps on giving, and for once you’ll have the luxury of being able to soak it up in a ‘low risk’ set up, perfect for those visiting with kids of any age.

Whilst The Infinite Mix has been the highlight of our arts calendar this year, this audio visual extravaganza comes a very close second. So don’t drag your feet to the tune of a super-slow accordion, get yourself there quick, before it all ends on 15th January.


William Kentridge: Thick Time is at the Whitchapel Gallery until 15th January 2017
77-82 Whitechapel High St, London E1 7QX
Tuesday to Sunday 11am-6pm, Thursday 11am-9pm, Closed on Monday
Admission from £11.95, children under 16 free, concessions available


Want to visit with a little one under 3? Book now to enjoy Whitechapel Gallery’s brilliant Crib Notes session on the 7th December led by Sofia Victorino 

Whilst you’re there: Alicja Kwade’s Medium Median makes a brilliant compliment to the celestial aspects of Kentridge’s work. This mobile installation features twenty four 21st century mobile handsets revolving in 3D, vocalising passages from Genesis as the sky charts receive information from GPS satellites on the current locations of stars.

What’s nearby? A few doors down, the brilliant and spacious Grounded does great coffee, superb breakfasts, healthy salads and yummy cakes. The team are welcoming and extremely family friendly. Spitalfields City Farm is also a short walk away. 

Arts Aloud Review: The Infinite Mix

It’s feels like a lifetime since our beloved Hayward Gallery closed its doors for two years of repairs and maintenance. Until it reopens in January 2018, the gallery’s mission is to focus on its extensive touring programme, collaborating with artists, independent curators, writers and partner institutions, to develop more imaginative exhibitions.

Continuing to fly the brutalist flag by setting up home within trendy creative space The Store, The Infinite Mix (presented in association with The Vinyl Factory) is one such collaboration. Promising a host of thought-provoking stories through large-scale audio-visual artworks, it sounded very much like our cup of tea. If it was anything like the free-to-bail-at-any-time yet all-encompassing-installation work of The Tanks at new Tate Modern, we knew we’d be in for a treat.

Friendly, forthcoming with a map and happy for us to abandon our buggy in the foyer; we were off to a positive start. There were a total of 10 rooms for us to get around, the first of which was presented by Hayward Gallery favourite, Martin Creed.

The entrance to this, the first work was so unbelievably dark, that alongside the other patrons, we found ourselves (unknowingly) hanging around in the walkway for a while. It was a very exciting introduction for all – believing we were already ‘in’ the work, but a few dark twists and turns later and we were greeted by bright yellow taxis and a corner of New York which formed the canvas for Work No 1701, 2013. Accompanied by a song penned by the artist himself, the work documents the unique body movement and gestures employed by a range of individuals crossing the same stretch of a New York street. It certainly was compelling viewing, wondering who might be along next and how – a guessing game of sorts and a perfect opener to win over younger viewers.

Having extracted my companion, we caught a brief glimpse of Luanda-Kinshasa, 2013; Stan Douglas’ endless jazz-funk jam. Brilliantly filmed as if you’re watching a live performance, this lively account was absolutely impossible to stand (or sit) still to.

The surprise hit of the day was Room 3, Ugo Rondinone’s THANX 4 NOTHING, featuring beat poet John Giorno. The rise and fall in the verses in this retrospective (and somewhat whimsical) ‘thank you’ poem, reminded me very much of everything I love about the lyrical delivery of a Cassette Boy creation. For my little one it was mesmerising. “He’s everywhere” she said, gasping at the giant installation screens and endless TVs. “And he’s got no shoes on” she continued, rolling around on the floor, moving consistently in whichever direction the surround sound seem to talk to her. We were well into the second run before I could persuade her to leave.

Thanks to a wonderfully astute gallery assistant, we bypassed Room 4 Kahlil Joseph’s m.A.A.d, 2014 and Room 7 Cameron Jamie’s Massage the History, 2007-9. If visiting with the family, you might want to do the same. The external signage might be a little recessive but these rooms contain visual content which is both violent and sexually explicit, and definitely don’t count as artistic immersion. Yes, you’ll miss some of the hard-hitting stuff, but with an abundance of family friendly content that can also feel pretty intense, you’ll do well to skip past and avoid the nightmares.

Some alternative views for family visitors are Room 5: the ever-so-slightly hallucinogenic Bom Bom’s Dream – if you lap-up the incredible music, graphics and bizarre chameleon, and ignore the (sometimes) inappropriate bumping and grinding, and the eerily holographic illusion OPERA (QM.15), 2016. Also awe-inspiring is Cyprien Gaillard’s Nightlife, 2015 which is housed in the final gallery of the exhibition, Room 10. Don the 3D glasses and sway with the windblown trees, before you exit to a well-deserved pat on the back for reaching the end of something truly outstanding, all with the kids in tow.

Billed as “a contender for show of the year” by the Evening Standard, The Infinite Mix certainly deserves the plethora of accolades that have been bestowed upon it. As an exhibition, it is a vibrant melting pot of all that is great and good when you bring together so many different artistic genres and stories, and tell them from the perspective of cultures far and wide. Plonk it in an incredible space, where even the wall-art in the stairwells has an impact on the visitor as they move around, and you’ve got world-beating art that anyone can enjoy.

We might have to wait for a year to enjoy the magic of the Hayward back in its South Bank home, but this assault on the senses has been a timely reminder of what we’re all currently missing.

The Infinite Mix is at The Store, 180 The Strand until 4th December 2016. 
Tuesday to Saturday 12 – 8pm, Sunday 12 – 7pm
Admission Free


5 family-friendly picks for an arty autumn

As the holidays draw to a close, we’ve loved our busy summer of pavilions, summer houses and South American art, but we can’t believe how many things are still sitting on our list, unseen! Where did the weeks go? With just a few days before we all get back on the hamster wheel, let’s get the calendar out and show some commitment!

Here’s 5 good reasons to love the onset of the autumn in the arts…

Neon: The Charged Line at The Grundy Art Gallery
Included as a statement of intent – not just to ensure that at least one of my highlights lie beyond the M25, but also to give myself (and any other Blackpool virgins) a very good reason to visit. Autumn is illumination time in Blackpool and if you loved last winter’s Luminere, combine the lights with this fabulous free exhibition which explores how artists have used neon and celebrates Blackpool’s pioneering role in the history of neon in the UK.
Neon: The Charged Line runs until Saturday 7th January 2017, admission free.
Illuminations scheduled daily until Sunday 6th November 2016. 

London Design Festival 
Last year we were surprised and delighted at how family-friendly the London Design Festival turned out to be and this year’s line up promises to be bigger and better. Showcasing the best efforts of London’s design world, there are over 400 events and installations taking place at venues across the capital including the Barbican, the V&A and various London neighbourhoods. The Green Room, an interactive installation by Glithert (supported by luxury watch maker Panerai) is set to be one of the big-hitters, inviting visitors to pass through the veil of colourful strings, suspended within a busy V&A stairwell. Running concurrently at Somerset House is the London Design Biennale 2016, which will be bringing 40 countries from around the world to London to present installations around the theme of ‘Utopia by Design’.
London Design Festival runs from 17th to 25th September 2016. See website for venue details and to plan your visit

Fun Palaces weekend
Originally the brainchild of theatre director Joan Littlewood and Architect Cedric Price, Fun Palaces were devised to inspire local communities to get together and celebrate art and science in ways that are both locally relevant and promote civic pride. This year’s programme features over 150 Fun Palaces up and down the country – from Wigan to Witham and beyond, and include a host of drop-in workshops, exhibitions, experiments, games and collaborations.
Fun Palaces runs 1st and 2nd October. See website to find participating venues in your local area. 

London Literature Festival 
In my recent interview with Southbank Centre’s Head of Festival Programme, Tamsin Ace we discussed their vision of making more superheroes of authors – enter the London Literature Festival. Taking on the mammoth task of exploring what role writers can play in making sense of the world that we live in, as well as exploring what lies beyond and in the future. There are quite a few family-friendly highlights (depending on the age of your children) but one of the few for a younger audience is the first ever Tongue Fu For Kids.  Set to improvised musical backing, this hour-long show sees leading storytellers and spoken word artists take their turn to use the power of live literature in order to reflect on the future. Past guests include Kate Tempest, Robin Ince and Beardyman.
Tongue Fu For Kids is at the Royal Festival Hall (Spirit Level) on Saturday 8th October at 2pm, admission £8
Suitable for 7 – 10 year olds, Booking advised. 

Picasso Portraits
“Every child is an artist. The problem is how to remain an artist once he grows up.” Never has this beautiful quote by the man himself rang truer than when my eldest daughter did a portrait of herself about a year ago. Not only did it look a lot like her, but it bore a striking resemblance to the style of Picasso! I’m sure most families containing enthusiastic scribblers can boast a Jackson Pollock or two, but a Picasso? She of course had no idea who Picasso was at the time, but she does now, I’m pretty confident that the accessibility of Picasso’s cubist era in particular, is sure to strike a chord with other young visitors through jagged edges, wonky eyes, strange shapes and imperfections. Promising over 80 works, including some of his earlier realist pieces drawn from life, this is a rare opportunity to bring kids face to face with one of the world’s most influential artists, and more importantly to let them feel at home in the company of art produced with honesty, expression and emotion.
Picasso Portraits is at the National Portrait Gallery from 6th October 2016 to 5th February 2017. Admission £17 Adults (without donation). Children under 12 are free. See website for opening times and to book tickets