The Imperial War Museum has opened after a £40 million revamp, including a new First World War Gallery. Richard Moss takes a look at the dramatic changes
Architecturally, the £40 million revamp, led by Fosters and Partners, is very impressive. An integrated central space offers views across the park via a new restaurant and the new atrium is cleaner and less cluttered.
There are now just four key objects on the floor – the 1914 field gun, Jeremy Deller’s Baghdad car, a battered Reuters’ Land Rover and (hiding ominously behind a new large zig-zagging staircase) a Czech-built T-34 tank.
Above them float the two German revenge weapons, the V-1 and V2 rocket, a Mark I Spitfire and a Hawker Harrier.
A hundred years of conflict encapsulated in nine objects; so the immediate question is: where have all the tanks and other cool stuff gone?
Thankfully some of them can be found in the “clusters” – the chronologically themed balconies, which rise vertiginously above the atrium to tell the story of conflict from 1939 onwards. Some of them are inside the much-vaunted new First World War galleries.
Feeding off the atrium, the new state-of-the-art gallery is designed to tell the full story of the Great War for a wide audience, and it's an impressive space.
But the collection is now accompanied by 60 digital displays in a chronology looking not just at the soldier’s experience, but also at the lives of those on the home front.
Primary sources – contemporary stories, letters and quotes – are featured throughout, some of them lavishly carved into monumental stone counters that recall the headstones of the fallen.
Others appear in sophisticated films with ‘then and now’ montages of the fields of Passchendaele and Somme.
Touchscreen controlled interactive tables and hands-on exhibits tackle everything from recruitment to rations. Round tables with poignant objects - including a leather glove dramatically shrunken to the size of a doll's hand by the effects of gas - are displayed in bell jars to fuse state-of-the-art projection and sound with traditional display.
There are helmets, trench clubs, mills bombs, field guns, ghostly gas masks and relics from the Red Barron, the sinking of the Lusitania and Lawrence of Arabia, all set within a compelling narrative that begins with Britain as a great Empire Power and concludes with how the war changed the world forever.
There are also great artworks to pour over, films to sit and watch, soundtracks and sound effects, including the scream of shrapnel shells, to listen to. It’s a truly absorbing experience.
Occasionally the labeling, like that for Kaiser Wilhelm’s greatcoat (which is strangely turned away from the viewer, as if it were also looking at the displays) and TE Lawrence’s Arab head rope, seems muddled and it takes several reads to ascertain that they did indeed once belong to these famed figures. Elsewhere it can sometimes seem confusing - or sparse.
And the revamped "trench experience", now with the inclusion of a looming Mark V tank and a Sopwith Camel suspended above the parapet, sadly forgoes the immersive drama and dramatic “over the top” denouement of its predecessor in favour of a very muted experience of snatched conversations and projected silhouettes.
But these are small gripes in an ambitious exhibition that manages to strike the right balance between fascinating objects, scintillating storytelling and cutting edge design, all delivered just in time for the August 4 centenary of the beginning of the First World War.
(Click below to launch a gallery of images)
a gallery photo showing a large grouping of trench signs and a field gun in the background
a circular table with a film projected onto it and a small object in a bell jar casing
a photo of a display case with a yellow life ring and a chamise
a photo of display cards set within carved stone counters
a photo of silhouetted figures on a wall
a case showing hood type gas masks and goggles
a photo of a display case filled with knives, clubs and grenades
A film montage showing First World War British troops marching across a field in modern day France
a photo of a display consisting of a measuring stick and images of men being mesaured up on a wall
an animated film projected onto a screen made of the figures of marching soldiers
a photo of uniforms displayed in frameworks in cases
a film of a barren landscape with the words "God's lovely earth wrecked beyond recognition"
a photo of a gallery atrium looking towards a zig-zag staircase and a plane and rocket suspended by wires
a photo of a relic aeroplane
Truth and Memory (until March 8 2015) is packed with stunning paintings and sculptures in an intelligent overview of the impact of the war on art and artists and a chance to see both famous and lesser known works.
Elsewhere, the chronology that deals with the Second World War to the present day is less successful. In the words of its Principal Historian Nigel Steel, the new IWM is “not a traditional didactic gallery", but rather a place containing a "series of snapshots that ask visitors to make connections for themselves.”
For the Second World War (for which a new gallery is planned in the next phase of the development), this means looking at the big turning points.
But the space is limited and, after the drama of the First World War gallery, it all feels rather sparse. There is a temporary feel throughout these balcony galleries and, inevitably, it lacks atmosphere.
There are quite a few omissions from the museum’s vast World War Two holding. Regular visitors will look in vain for Field Marshall Montgomery’s Grant tank, dispatched to the land Warfare Hall of Imperial War Museum Duxford, the Matilda Tank or the German Jagdpanther, with its side punched through by armour-piercing shells. Similarly, the uniforms and much of the personal equipment is now absent.
The galleries narrow as you climb higher and with some iconic objects wedged into balconies so you can sometimes only see them from behind, the overall experience is cramped, confusing and a little disappointing.
For the story of conflict after 1939, IWM London is still very much a museum in transition.
But in other areas, such as the gallery for the new art strand, IWM Contemporary, Mark Neville’s films and photographs from Afghanistan are a quiet revelation that remind us of the young lives at the sharp end of conflict and how the IWM succeeds in reflecting the pity of war as much as the mechanics of it.
The excellent Family in Wartime, Horrible Histories Spies and Secret War exhibitions have also re-opened, together with the Holocaust exhibition and the interactive Lord Ashcroft Gallery of VCs and George Crosses.
It's good that IWM London is back in business. And although some visitors who feel they have grown up with the Lambeth museum, like myself, may baulk at some of the temporary changes, the First World War gallery has raised the bar for modern museum exhibitions.
The pressure is now on to see what they can do to provide a fitting exhibition for World War Two. It’s an intriguing prospect.
What do you think? Leave a comment below.
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