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Posts Tagged ‘Hiroshi Sugimoto’

Film 

A bumper 12 movie month, as January always is, leading up to the awards season and filling the gaps in a lean theatrical period. Here’s a whistle-stop tour:

I’ve been critical of how Peter Jackson has strung out The Hobbit to three long films, but I’m a completeist so I had to see the last one and decided to go out with a bang and see The Hobbit – the Battle of the Five Armies in the IMAX. It is overlong, the 3D and CGI is often disappointing and there was something tired and earnest about the performances, so it ended with a yawn.

I adored Paddington, a lovely, charming, heart-warming tale filmed and performed to perfection. I was almost put off by ‘kids film’ branding; what a relief I succumbed.

Though there was much to enjoy in Birdman, I wasn’t as euphoric as the critics. Too much of people shouting at one another for me, and overlong to boot. Good rather than great.

I was somewhat apprehensive about seeing the film adaptation of a favourite musical by one of my heroes, but Into the Woods exceeded expectations bigtime. Brilliantly cast, superb production design and some decent singing. You have to suspend disbelief a lot in the theatre (beanstalks, giant, castle ball….) but the film opens it right up. There was even a delicious moment right at the end when Simon Russell Beale is revealed as the ghost of Baker James Corden’s dad!

It is Benedict Cumberbatch’s great misfortune that The Theory of Everything is released in the same awards year as The Imitation Game, for his superb performance is eclipsed by an even more superb one from Eddie Redmayne as Stephen Hawking. It’s another captivating biopic of another great Briton and we are lucky to have films like this still being made here.

I enjoyed Testament of Youth, an unsentimental yet moving depiction of the First World War from the perspective of one woman, her family and friends. It was well paced, so it sustained its 130 minute length and the performance by Swedish actress Alicia Vikander, who I’d never seen before, was superb.

Foxcatcher really caught me out. Reluctant to go and see a film about wrestling, it turned out to have great psychological depth and a superb performance by Steve Carrell. It’s a slow burn, but it’s worth staying with it.

Whiplash was another psychological thriller masquerading, this time as a film about jazz. This one grabs you from the off and doesn’t let go. A thrilling ride.

American Sniper is a very well made film but I found it hard to swallow the delight taken in killing, whatever the rights and wrongs of it. Exceptional performances, especially from Bradley Cooper and an unrecognisable Sienna Miller, weren’t enough to redeem it I’m afraid.

A Most Violent Year is the third great thriller this month, also covering new ground (battles between and corruption within oil distributors in 80’s New York). A slowish start but it draws you in.

Alicia Vikander turned up again in Ex Machina, an interesting if slight and slow film about AI, in a completely contrasting role; definitely someone to watch.

I ended the film-going month with the populist – Kingsman – The Secret Service – which was rather fun. It was extraordinarily violent (not something I usually like) but it was comic rather than realistic violence, so I could stomach it – most of the time.

Dance

I recall being a bit underwhelmed by the first outing of New Adventures’ Edward Scissorhands at Sadler’s Wells nine years ago, but the consensus of ‘much improved’ encouraged me to re-visit it. Sadly, I remain underwhelmed. There’s a lot of moving about but not enough dance for me – a bit like New Adventures recent Lord of the Flies, but without the strong narrative that had. It just seemed like a series of set pieces and I didn’t really engage with the main character or the story. I did like the music though, and it picked up a lot in the last few scenes.

This is the third time I’ve seen BalletBoyz (The Talent) and it’s great to watch them grow and mature. This show, Young Men, also at Sadler’s Wells, is made up of 10 themed scenes about, well, young men and war. The soundtrack by Keaton Henson is brilliant and the design beautifully atmospheric, but it’s the dance that thrills most. Mesmerising.

Classical

It was only my second time seeing the Simon Bolivar Symphony Orchestra of Venezuela under Gustavo Dudamel, but they continue to impress. The first of their two RFH concerts paired Beethoven’s 5th with selections from Wagner’s Ring cycle and their interpretations of both were often thrilling. They’ve all grown up playing together in the El Sistema process and I’m sure this is why they sound so tight and cohesive.

I’d never heard Schumann’s oratorio Das Paradies und die Peri (like almost everyone else in the audience it seems!) It’s rare amongst choral pieces as it’s both secular and romantic, maybe even sickly and sentimental. It was given a thrilling outing by the LSO & LSC at the Barbican with six excellent soloists and a female quartet from GSMD under Sir Simon Rattle. If the rumours are true we might get a lot more of him in the future, which would be the best possible appointment the LSO could make!

Opera

I liked the Royal Opera / Roundhouse co-production of Monteverdi’s Orfeo, one of the earliest operas ever written, but more for the music than the production. The differentiation between hell and the real world was lost in a sea of black and grey costumes and the writhing people in grey boiler suits were very distracting. Orfeo acted well, but his singing was uneven, but the rest of the cast were excellent.

Contemporary Music

A Little Night Music isn’t my favourite Sondheim musical but given the casting I couldn’t resist the 40th anniversary concert performance at the Palace Theatre and was very glad I didn’t. The large orchestra sounded lush, Sondheim’s sharp and witty lyrics shone in this setting and, despite some fluffed lines, the performances were excellent, with Laura Pit-Pulford bringing the house down with The Millers Son.

Art

I very much liked the Sigmar Polke retrospective at Tate Modern. He’s clearly an artist who has not lost his creativity as his work has evolved and the artistic journey is brilliantly presented. A second visit beckons methinks.

Its extraordinary how a little known 16th century Italian portraitist can pack them in at the Royal Academy, so much so that it hampered the experience of viewing the Moroni exhibition in its final weekend. Round the back in Pace Gallery there was a fascinating and original exhibition of large B&W photos of museum dioramas of landscapes with wildlife by Hiroshi Sugimoto that I thought at first were paintings. Next door at the other RA galleries the Allen Jones retrospective was the highlight of the afternoon. Even though he was obsessed with women’s legs, the vibrancy and pizazz of the work was terrific.

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I missed the first Folkestone Triennial, but I was determined not to miss the second, so off I went on the High Speed Train on a (too) sunny day. There are 19 new art works scattered all over the town and it’s a lot of walking between them; even more if you want to take in the 8 permanent works remaining from the last triennial. Better directions / maps would have helped me see more, but as it is I managed to see two-thirds of both in my four-hour walk, though that included snatches of film works rather than complete films. At its best it was brilliant – A K Dolven’s bell on the beach, Hala Elkoussy’s archive & reading room exploring Egypt’s colonial past, Mikolaj Bendix Skyum Larsen’s three-screen film about illegal immigration (his name is an art work of its own!), Zinab Sedira’s multi-screen installation, Hew Locke’s model ships hanging from a church ceiling, Cornelia Parker’s bronze mermaid on the rocks and Paloma Varga Weisz’ sculpture on the tracks of a disused railway station. Amongst the permanent works, Richard Wilson’s beach huts made from an old crazy golf course is a masterpiece. This is a great idea and a fun day out –see you in three years, Folkestone, when I will allow more time!

Fired with enthusiasm for art at the seaside, the next day I went to Margate to visit the new Turner Contemporary gallery. From the outside, the architecture didn’t inspire me, but it’s a better on the inside. For a building so big, the display space is small. The works in the opening exhibition were excellent, but I’m afraid it was like having a starter but no main course. There was another exhibition there, which helped justify the 5-6 hour round trip, at the ‘pop up’ Pie Factory Gallery in the old town. It explores the British saucy seaside postcards that were judged obscene (or not) in the 50’s. Some were prosecuted in one town but deemed OK in another and the law was clearly an ass. The exhibition works on two levels – the postcards are retro funny in a carry on sort of way, and the historical perspective is fascinating. Great fun.

Having turned up before the exhibition opened in July, I went back to Whitechapel Gallery to see Thomas Struth’s photographs. They are realist pictures of people in museums, industrial installations, city streets etc., most on a big scale, but they are printed onto Perspex, which gives them a hyper-naturalistic yet surreal quality; very original.

Most things in the Saatchi Gallery’s New Sculpture exhibition are on a big scale, with many sculptors getting a whole room to themselves (and some using it for just one sculpture). It has some good pieces but little is original and some very derivative (notably the lifelike figures of two men which owes absolutely everything to Ron Muek). One day this fabulous space will house something truly extraordinary. How about a Richard Wilson retrospective?

The Royal Academy’s Summer Exhibition is the best for a long time, though I’m not entirely sure why. I think it must be the way it’s curated, as each room is hung by a different RA member (though they’ve done this before). The architectural models fascinated again, but there were lots of lovely paintings and prints too. It may also be particularly good because there’s only one video and no film! Upstairs the small exhibition of 20th Century Hungarian Photography proved that these guys were way ahead of their time, producing insightful and artful shots when many were locked in staged and posed perfection. Quite why Hungary produced so many I really don’t know; maybe they influenced one another. Great to see them all together for once.

I wasn’t impressed by this year’s Serpentine Summer Pavilion. It’s a huge double-walled rectangular black box with a garden inside and tables and chairs around it. Fortunately, inside the gallery there’s an excellent installation called The Mirror of Judgement by the wonderfully named Michelangelo Pistoletto, who has created a 4-room labyrinth of chest high corrugated cardboard with different mirrors and religious references in each room. Very original and fun to walk through.

The Roundhouse’s second summer installation is as good as the first, David Byrne’s Playing the Building. This time local designer Ron Arad has hung a 360 degree curtain made up of 7 tons of translucent silicon tubing which would be 50 km long if linear. A variety of films are projected continuously onto it and though better seen from the inside, its good to spend some time outside too. I stayed much longer then planned and saw a diverse range of about eight original films, including animation, realism and digital abstractions. A real visual treat.

During a theatrical outing to Chichester I popped into their newly extended Pallant Gallery where there were five small exhibitions in addition to their permanent collection. The prime reason for visiting now was to see the Frida Kahlo & Diego Riviera exhibition. It’s not that big – just c.20 paintings and c.10 other works – but there are some gems amongst them, particularly from Riviera. Two of the other exhibitions were related; from the same Gelman collections, they have a small collection of Guillermo Kahlo’s (Frida Kahlo’s father) photos and more photos from Kahlo / Riviera friends Manuel & Lola Alvarez Bravo. Butlin’s should use Anna Fox’s highly flattering photos of their Bognor Regis camp in their publicity – they made me smile. Punk rocker Nick Blinko’s somewhat obsessive pen drawings were also fascinating. The permanent collection is heavy on rarely seen 20th century Brits like Graham Sutherland, Peter Blake and the Nicholson’s which makes it well worth a look. The good people of Chichester are lucky to have somewhere like this which much bigger cities would envy.

…..and so to Edinburgh, which didn’t look good on paper, but turned out better in reality. Our artfest started at the Scottish National Gallery of Modern Art One with Tony Cragg. I liked his sculpture much more than I thought I was going to. The craftsmanship is extraordinary (particularly the plywood) and all those curves make you imagine all sorts of shapes as you move around them. In SNGMA Two, Hiroshi Sugimoto‘s photographic work includes some extraordinary B&W lightening pictures. They’re paired with his photos of original Fox Talbot negatives which had a historical interest and a certain ethereal quality, but didn’t really live up to expectations.

At St Mary’s Cathedral they have a modern-day Bayeux in the Battle of Prestonpans Tapestry which commemorates the Jacobite uprising led by Bonnie Prince Charlie in 1745. An artist took six months to draw the panels and then 200 volunteers too another six months to complete it. Though it’s impressive, one does have to ask the question ‘why?’.

David Mach has taken over all five floors the Edinburgh City Art Centre (including moving his studio to the third!) where he is showing collages of scenes from the bible and sculptures of Jesus and Satan. It’s an ambitious and fascinating exhibition to coincide with the 400th anniversary of the King James bible. Across the road at the Fruitmarket Gallery, Ingrid Calame‘s obsessive ‘tracings’ left me completely cold. It seemed such a lot of effort for such pointless and unrewarding work. The gallery redeems itself somewhat by its involvement in Martin Creed‘s ‘installation’ which is in fact replacing the Scotsman Steps with new multi-coloured marble ones. A lovely permanent practical work of art.

I didn’t really fancy the Elizabeth Blackadder exhibition at the National Gallery of Scotland, but something compelled me to give it a go and it turned out to be a delightful experience. I was impressed by the range of subjects and styles and her use of colour. The short videos gave you an insight into the woman; charming & unassuming – I suspect you’d never believe she was an artist if you met her.

At the Open Eye Gallery I wished I was rich as I’d have bought quite a few of the John Byrne paintings and prints on show. I’ve wanted to see more of his work since being bowled over by the picture of his ex-wife Tilda Swinton at the Scottish National Portrait Gallery. He’s a writer and director as well as an artist and his cartoonish style is playful and theatrical.

Visiting the Phoebe Anna Traquair murals at St. Mary’s Cathedral Song School was a real treat. This Arts & Crafts / Pre-Raphaelite genius is much neglected and this may well be her masterpiece. With one overall theme and much detail it covers all four walls of this rectangular building and it’s breathtaking.

Now that the National Museum of Scotland‘s renovations are complete, they are showing a recent bequest of modern glass, a lovely eclectic collection given a nice light space in the new section. Whilst there, I hunted out the Phoebe Anna Traquair items – a painted piano, enamel items and some drawings. You have to go to three different locations on four floors, but that also meant coming across some Charles Rennie Mackintosh, William De Morgan, Tiffany, Lalique and small Art Deco and Art Nouveau collections.

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