January Highlights: Commemorative Stamps, Sales, Tate London

48th London International Boat Show

VENUE: Earls Court Exhibition Centre, Warwick Road, London SW5. Tel: 01784 472 222. Email: boatline@boatshows.co.uk
DATE: 3 - 13 January, 2002.
HOW TO GET THERE: London Underground to Earls Court, (District or Piccadilly lines), and walk directly into the entrance hall. London buses: 74, 328, C1, C3 stop close by. National Express offer all inclusive travel/entry tickets. See my Travel Lines link for details.
TICKETS: Purchase at the door or in advance by calling: 0115 912 9111.
WHAT IT IS: This is the annual boat show that brings together the world's leading yacht designers and their high rolling customers eager to part with millions for their floating palaces. Others who are serious yachtsmen, and lesser mortals who enjoy weekend dinghy sailing on a local lake, reservoir or safe coastal estuary, visit to update themselves and possibly buy the latest dinghy design for £300 upwards . They will probably buy tickets for this year's prize draw of a $50,000 luxury yachting vacation for two offered by Yachting Gateway and certainly enjoy looking at the whizzbang gadgetry of the James Bond boat and Blofield submarine, exhibited by the Ian Fleming Foundation. Pride of place at the Boat Show however goes this year to the boat Kingfisher and its heroic skipper petite 24 year old Ellen MacArthur MBE, from the Isle of Wight who was the first woman to circumnavigate the world alone this year.

The Shortlisted Artists
Tate Britain until 20th January 2002
Reviewed by David Richards of www.artsopinion.com and published here with their permission.

One of the cultural pleasures to anticipate each year is to view the work of the shortlisted artists for the Turner Prize. Even if your artistic temperament is sufficiently steeled to avoid being shocked there is, nevertheless, a high probability that you will challenged, perhaps entertained, by the innovative qualities of the works on display. In exceptional years shock and innovation can combine, for example, in bisected animals immersed in formaldehyde or disheveled beds strewn with the detritus of last night's happenings.

This year the prevailing mood is more constrained as though compensating subconsciousally for previous excesses. Installation Art no longer shocks and runs the risk of failing to newly challenge the wider public. Martin Creed's 'Work # 227: The lights going on and off' is a stumble through

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