Brail uses railway delays last year were to 13 year high and the national rail passenger survey suggests fewer than a 3rd of rail commuters believe the tickets are value for money the watchdog group transport focus said passengers would be mystified that fares were going up at all but the rail minister Chris Heaton Harris said without investment the rail service would not improve the former chancellor Philip Hammond has accused Boris Johnson's advisors of wrecking the chances of a new Bragg's deal Mr Hammond said the government was making demands the E.U. Could never accept thereby increasing the likelihood of a no deal departure the former Conservative leader Ian Duncan Smith said Mr Hammond had made a grave error in failing to prepare for a no deal scenario but I'm not prepared to leave with no deal they made it so that we had to swallow everything your opinion gave us so the crime being committed in political terms was committed by him and those who did not prepare us to leave that meant we have no negotiating position whatsoever and we were taken to the cleaners by the A post-mortem examination is taking place in Malaysia to try to establish a teenager from London died during a family holiday the body of Nora Coren who was 15 and had special needs was found yesterday she disappeared from her room 10 days ago a woman believed to be in our twenty's is in a critical condition in hospital after being hit by a marked police car in Kensington it happened on Warrick road near the junction with Kensington High Street just before 10 o'clock last night the incident is being referred to the police watchdog. Strike action at Heathrow Airport shuttle for the 23rd and 24th of August has been postponed the United Union is considering a revised pay off for which Heathrow says is worth 7.8 percent over 2 years the Advertising Standards Authority has banned 2 adverts which it said broke a new rule designed to prevent harmful gender stereotypes one ad for Philadelphia's soft cheese attracted complaints for showing 2 new fathers leaving a baby on a restaurant buff a conveyor belt while distracted by food the other for Volkswagen showed mainly men in adventurous scenarios while a woman sass with a pram the essays investigations manager Jess Tai says research suggests adverts can have a detrimental impact the research that we carried out showed that there are real world homes that come from gender stereotypes and office the advertising only plays a small POS in knots gender stereotypes of pervasive throughout society the types of homes you might be talking about for example affecting people's aspirations you know in my effects the career choices that girls make or boys make. London's weather forecast with the details here's Kate Consuela a wet and windy Wednesday strengthening when some heavy prolonged spells of rain you may even hear a rumble of thunder it's really off to name temperature takes a tumble to looking at a maximum of 17 or 18 Celsius the ring clears the sea evening overnight largely dry quite cloudy though but mild the minimum temperature not dropping too far at around 16 Celsius B.B.C. Radio London it's 3 minutes past 12 on digital radio 94.9 F.M. And B.B.C. Sounds this is long this is B.B.C. Radio London for us elms indeed we've still got some grease to so well but we'll sort those out in half an hour hopefully I don't know where we're going to find Mr Berry with these bottle. I'm sure we're going to find out about the mommy fight head in a jar so those are the 2 Coreys that we've still got to go but before that in a few moments time we're going to be hearing from a small stone on the lights and design but 1st stop. The to. Heaven 7 say in the brilliant temptation and I promised you and Alice will stone them we've got one and before we move on to this week 6 submissions one of last week's while was well some would like a fairly obscure Scandinavian painted to me hello and shift back I think is how you pronounce it and I'm Alice said it was great so I went and saw it with my wife last Friday I thought it was fantastic of the world to come to me a real eye opener someone I'd never heard of impact things I absolutely loved and for me it was the perfect size 63 pictures you could do in about all finale that was just right along long for the show exhibition that's my idea of heaven anyway this is here. Yeah and it is a fantastic show and although I mean I had never had a fan the full and if you act as you're well you know I have a station in my knowledge obviously but. She is there a well known scams and a viewer apparently is just and she did spend quite a lot of time in Britain she had a friend she married Adrian Stokes a British art as in the early 20th century and they lived in Cornwall so she spent quite a lot of time with them but oversee her work was not well known had but it's a fantastic exhibition at the Royal Academy well worth going to see and there are other really interesting expressions see including one that opened last week at Tate Modern and this is a retrospective of the work of the Hungarian artist Dora more so good like Laura Maura they are obviously spelt differently D R And then M A U R E R So when you actually see it written down it doesn't look quite so similar but you're right about right as a foot record I enjoy it is just the 1st bite over. But will he make a fundamental difference to the team Robert this is the. So Durham or is exhibition opened Tate Modern last week and she was born in 1937 in Hungary so she's now in her early eighty's and she was one of the radical young daughter sweating in Budapest there a privately secretly and super discreetly during the sixty's and seventy's when there was a very repressive regime in Hungary and so artistic self-expression politically particularly if it was political in any way and subversive was absolutely banned so she was what was called a kitchen artist because most of her work had to be made in the privacy of her own home literally in her kitchen and it's an absolutely incredible body of work by any standards all the more so given the repression that she experienced at the time and she works in many different media sculpture paintings and films and photography and much of her well. In Hungary until the Velvet Revolution at the end of the 1980s was conducted as I explained very privately and secretly using quite rigid men Sheree materials and it was often dominated by sort of repetition standardize ation whether it was movements shapes colors so again she was always working within restriction and limitation and she found very clever very subtle ways of articulating her opposition to the regime without being explicit about it so there's a work in she did in 1971 called What can one do with a paving stone and this is a series of black and white photographs of her manipulating a paving stone and this within the political protest movement is a fairly obvious allusion to political protest because of course paving stones routinely ripped our art in demonstrations all over the world at the time so there's nothing explicitly political about it but she's conveying her message very cleverly and clearly without alienating the or thirty's. And she also made films again dealing often with sort of small domestic objects and how they relate to light the shadows and so on so it might be a teacup or whatever Making college photographs of sort of multiple images of her own hands which is one of my favorites of her it's almost like turning her body into a kaleidoscope because there's a sort of head and torso image of her and then these extraordinary surreal hands sort of steaming off into different directions so very clever working with minimal materials to maximum effect and she was despite the repression of the Hungarian regime at the time she was reasonably well known in the art world. In the West and so as soon as the political regime started to liberalize with perestroika in the Soviet Union in the mid 1980 S. She did start to experiment by exhibiting in the West starting in Vienna which obviously had historic links with Budapest and Hungary and her work has changed not dramatically in that it's clearly the distinctive work of the same artist but I would say it has progressed and evolved since the Velvet Revolution where she's been free to exhibit all over the world wherever she wishes and obviously she's still around much for it yes yes she's in her early eighty's when she's coming to give a talk at modern in conversation with the director Francis Morris in January and a wonderful thing is that she's got older her work has continued to be very adventurous there experimental and so her later work is incredibly colorful it's as if she sort of much of the earlier work is black and white and as I said really making the most of nuance and subtlety but the later work is much more vibrant very dynamic there are. Abstract sort of minimalist works like maximalist in terms of the colorful impact so literally sort of stripes stripped around walls and around corners so it's the exhibition ends on a sort of joyous jubilance high so really a wonderful artist their remarks are part of a proud history and tradition and hungry throughout the 20th century of leading the of on God so she was born in 1937 jury in the city of teens and early twenty's Hungary and breeder pest in particular had been centers of the construct of this movement that came out of Russia of the emergence of extraordinary artists designers of a. There is like a morning ours and Yogi kept us who left Hungary in the 1920 S. For Berlin and then fled Nazi Germany in the 1930 S. And ended up in the United States where they work America ideas how to begin to national influence and so she was there a March following in their footsteps and part of that wonderful tradition but oversea her own historic trajectory and relationship to Hungary was completely different so a really interesting artist. Dora Morris indeed with an eye literature of name no less so well worth seeing at Tate Modern and another wonderful expression of the work of Eastern European women artists that is that of Natalia and I was away when the exhibition opened I've been meaning to go and see it and talk about it on the show for ages because all my friends who've been to see it have loved it and only managed to go earlier this week what a treat it was now that she of course was part she was born in $180.00 warm in then Imperial Russia to a Bahamian an intellectual family her father was an artist and so the whole family was highly cultured visually sophisticated so she was encouraged to express herself creativity creatively from a very very young age and so even before the Russian Revolution she and her lover Mikhail Lerone of were very much at the forefront of the Russian avant garde and that work was seen as the sort of you know pioneering apogee of modernism in Russia at the time constructivism which began immediately before the Russian Revolution and became much more influential immediately afterwards has slightly obscured our view of the importance of their work because their. They're much more in the sort of tradition of Tolstoy the great Russian author who very much celebrates the sort of folkloric rural side of traditional Russian peasant life and these were there important themes of her work so her work is gloriously colorful So it's very lush in terms of its symbolism and the colors and also the shapes it's VERY of that the feminine in a traditional sense both in her artwork and her design there are these fabulous Lee glamorous depictions of women. The titles of her work suddenly the early work in Russia in the early 20th century peasants gathering apples the harvest sort of tell you exactly what the work is about it's about these rather idealized scenes of rural Russian life where of course the reality of life for those peasants was much more complex is there a touch or should Garland Well there is a touch of sugar all about her work I think and also Matisse to some degree although his work was much more conventionally or unconventional for the time abstract but certainly in her use of color it's quite extraordinary but you're absolutely right there are parallels to sugar. And she was the 1st sort of famous modern Russian artist within Russia $71913.00 she had a one woman show which was an absolute smash hit there were $800.00 works in IT It must have been enormous So far too big for you all but you develop far shorter lunch of much more time in the gallery going to see it and the centerpiece of the Tate Modern exhibition is a recreate obviously not of all 800 works but of part of that exhibition. And then after the Russian. After that just before the Russian Revolution so jury in World War One she went to Paris to work with Serge the Aguilar of the great Russian choreographer and so she designed plays dance operas for him and they worked together for many decades and he persuaded her to leave Russia in the early 1920 so after the revolution to live in Paris and she indeed stayed there until she died at the grand old age of 81. In 1962 and her lover Mikhail Larionov went with her so they continued as a double act so she was a prominent figure in Paris me. Many of the. Wealthiest collectors of contemporary French arts or contemporary art exhibit him Harris before the Russian Revolution were Russian so they'd be Russian aristocrats pre-Socratic industrialists and so on so there were already there e close links between Russia and Paris and of course the delayed Ney's Sagna delay ne had also fled Russia they were there so there was a large contingent of Russian artists that and so she and Larry many of would have had many friends there I mean they were real powerhouses in Russia in the art world before the revolution they co-founded several radical movements with very entertaining names one was the jack of diamonds the other was called donkeys tail No I care what art movement should be named after that and in the early 1900 tans they founded a movement called Re an ism which. Has no relationship to the fabric right on alarm A I don't say I'm sure. Well yes indeed contact also hands. Reinvented. It was actually to do it was a sort of Russian version of Futurism which was then flourishing in Italy and it was really about the sort of power of rays of light blasts of color and so on anyway a good name if not quite as good as donkey style and jack of diamonds she also designed fashion so in Russia she worked with lemon over here with the the Cherry A to the imperial court and obviously this was translated into costumes for DIAC a lab and the ballet Reuss when she was living in Paris and said the grand finale of the exhibition is her work for the ballet really so you have these incredibly colorful costumes sort of drawing on the kind of symbolism you know whether they're birds flowers. Or more geometric patterns she certainly loved to dramatic pattern that she'd been using in her work throughout so very joyous body of work by a hugely expressive and clearly they're a resourceful and resilient artist and designer who works across these many different media in a very sort of natural organic way so an intriguing expression she's not such a well known figure here in Britain an intriguing exhibition for. Tate Modern's persona but as soon as I tweeted that I was going to be talking about it in on today's show this morning people message then saying they'd seen it and they absolutely loved it it has been very popular so well worth going to see the city if you have kids and you're at Tate Modern whether it's a C. Durham or a little earlier Gonchar over or both of them it's also well worth going to see the Olafur an exhibition which is so sort of playful and accessible I mean it's a fantastic family day out as a grandson of school cause my kid Alfie when I saw that in Kenya was it is tripe so trite superficial it's nonsense. Well Alfie is probably a little older Sri say core demographic and he does address important issues of sustainability the environmental emergency. You know the disparity of wealth between different parts of the world and address inequality in his were. But not everybody would disagree with Alfre is one way of putting it but there's also a very fine accessible site is what I think it's a great way of introducing people to contemporary art and it is certainly self essential Alfie was probably very irritated by Bat go on as well. So so heading to Eastlands and Paris or unit which is one of the privately funded galleries founded by a collection. LAM several years ago and it has a rolling temporary exhibition program and the current exhibition is entitled 9 a rainy an artist in London the spark is you and it is a personal choice of 9 artists to show and so obviously at a time when international relations with Iran are incredibly sensitive and precarious and the regime there is becoming increasingly repressive it's very interesting to look at I mean Iran has an incredible cultural heritage not only in the visual arts but in architecture design literature philosophy so it's very timely I think to look at the different side of Iran and also the contribution that Iranian artists have made after they've left the country not only. In Britain but elsewhere and it's quite an erratic exhibition I have to say I wear is it to some rockets Paracel unit which is off city road it's on Wolf Road and so halfway along city road if you're going north to south in one of the old warehouses that and it has sort of you know waterfront from to joy and so on which is lovely to see that there are a nice terrace and there are 3 artists in particular whose work I thought was very interesting warm is now Skoal and serene IA who produced a extraordinary series an installation that you see as soon as you go into the exhibition and it is sort of 3 D. Printed. Replicas of fragments of buildings so it's of replicating demolition and destruction. In Tehran in particular of this endless sequence of the demolition of old buildings to make way for new ones and so seeing them on the floor like that in miniature Is there a very powerful so there are interesting allusion to his concerns about the sort of their destructive approach to the architectural history of Tehran. Another interesting work was by the sculptor Sam Sami in and this is rooted in 1001 Nights of wonderful Arabian tale and it's an abstract series of sculpture the colors are absolutely beautiful it's a beautiful composition not only of color but also shapes and different materials with different textural features so for me it was just a really intriguing representation of his memories and interpretation of those stories in a completely abstract but they're engaging visual way and finally there is the work of her saying. And this is my favorite was a beautiful sort of colors of lotus leaves. Which have formed this sort of abstract from a distance they look like a geometric pattern the kind that's usually made by ceramics music all stone and the closer you get you realize what they actually are and they're replicating traditional Iranian patterns that you would often find in Iranian architecture of the type that's probably being to be honest in Tehran to make way for the other installation so an interesting exhibition of Iranian art of the very timely moment to look at the different sides of our relationship to Iran Paracel unit and then finally at Somerset House there's. A very interesting exhibition again on a very very timely theme it's called Kaleidoscope and it's basically photography that's representing different aspects of immigration in modern Britain so the communities that have emerged through refugees emigres migrants who've come to Britain and also their impact on British life and it is a kaleidoscopic exhibition it lives up to its title because it crams in the work of lots of photographers but always p