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Posts Tagged ‘Ron Arad’

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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March was a ‘lull before the storm’ work-wise, so it was action packed otherwise! In addition to 12 theatre outings…….

MUSIC

Performing your classic album live in its entirety has become fashionable with old rockers, so it was no surprise when John Cale decided to do it with Paris 1919, accompanied by an orchestra. It didn’t really take off until the third song, not every song worked well and given that it’s little over 30 minutes that doesn’t make for an entirely satisfying experience on its own. Fortunately, he followed this with four cracking numbers with his terrific three-piece band and another two with the orchestra – and a brilliant encore (which we had to earn!), so the evening (though still not much more than 80 minutes) was redeemed.

There’s a straight line from The Kinks through Squeeze, Madness and Blur to Lily Allen representing a modern soundtrack of London. ‘Songs in the Key of London’ was another one of those compilation shows which sort-of tried to do this (and included songs from all but the latter), put together by Squeeze’ Chris Difford. Unfortunately, it didn’t succeed as well as other shows of its kind, largely because it was under-rehearsed and the sound was inexcusably bad. Other former Squeezers Jools Holland & Glen Tilbrook and Chas and Suggs from Madness took part, together with an eclectic selection of the less well known. It had its moments and the surprise appearance of Elvis Costello at the end to sing Hoover Factory and My Brilliant Parade was a treat, if only to see him on home soil again.

Cara Dillon’s St. Patrick’s Day concert in Canary Wharf was lovely, if a little short and in a somewhat incongruous venue. A guest appearance from Seth Lakeman was a real bonus and whetted my appetite for a long awaited opportunity to see a full set from him (now booked for the Open Air Theatre in September!).

Whilst most young musicians seem to spend their lives repeating the formula that made them successful, a 60-year old called Peter Gabriel who has spent his life reinventing and innovating is still at it! His concert at the O2 showcased the new album of ‘covers’ (re-interpretations, I’d say) with a full orchestra and no band; it worked surprisingly well live in such a big space. The second half was an unpredictable selection of old songs re-arranged for orchestra including great versions of San Jacinto and Solisbury Hill. Old men showing the way; who’d have thought it!

I hadn’t clocked that it was Mothers Day when I booked an afternoon concert of Rogers & Hammerstein songs at the Barbican with two of my favourite musical performers – Maria Friedman and Daniel Evans – so it was a bit cheesy & populist for my taste. Though it was great to hear these songs played by a full orchestra and the singing was good, the song choice was a bit predictable and safe and the amplification (for the second time this week at the Barbican!) was poor.

Showstopper! is an improvised musical put together on the spot, partly from audience suggestion. In fact, it’s the same formula as Impropera (which I saw in December), the Scat Pack’s improv movies and others. They are as good as the inspiration at the time and this wasn’t a classic, but it was worth the trip. We ended up with Blood on the Heather – the story of the Glencoe massacre where the McDonalds and the Campbells fought each other – with songs in the style of Cabaret, Annie, Rent, Abba and Sondheim!

More classically, I went to another mezzo soprano recital of English song at Wigmore Hall, this time Sarah Connelly with a lunchtime programme of Purcell, Howells, Gurney, Warlock, Bridge, Britten and songs by her accompanist Eugene Asti. It was a lovely selection and she sang beautifully.

Purcell’s Dioclesian is a rarely performed ‘semi-opera’ about the Roman emperor of the same name (who I got rather interested when I went to Split in Croatia where the city centre is built within the ruins of his retirement home!). The Royal College of Music paired with an ‘early dance’ group turned it into a delightful evening. It’s not up there with his classics like The Fairy Queen, but it was good to catch it. The amount of musical talent on show in their Baroque Orchestra and Chamber Choir (most of whom also took the solos) was breathtaking. 

Britten’s War Requiem is one of my favourite choral pieces and it got a wonderful outing at the Barbican on the 50th anniversary of the London Concert Choir. The soloists – Janice Watson, Adrian Thompson and Roderick Williams – were fantastic and the Southbank Sinfonia made a terrific sound. It’s the greatest anti-war music ever written and still relevant and moving.

OPERA

Its 17 years since I was last in Wandsworth Prison (!), for Pimlico Opera’s Guys & Dolls. This month I returned for the same company’s Carmen. It worked well almost halved to under 90 minutes (it makes you wonder how many operas would benefit from similar editing!) losing none of the story and none of the best music. The cast of 11 professionals (including four excellent principals) and 13 prisoners gave it their all and though it’s a sad story, it was an uplifting experience. When you look at the faces of the performing prisoners at the curtain call, they tell you everything about the importance of this experience for them; if it changes only one of them forever, it will have been worthwhile…..and as you start the long walk out, the funny comments shouted from the cells remind you how many other lost souls weren’t performing. On this occasion, I was struck by the fact that half of the prisoner cast were recent immigrants to the UK and I’m still puzzled as to why…

The Guildhall School have been on a roll of late, so perhaps it was inevitable that there’d be a blip, and Cherubin doesn’t really live up to recent form. Massenet’s opera picks up where Mozart left off in The Marriage of Figaro and follows the exploits of Cherubin as he enlists. It’s a much neglected piece – it took 89 years to get a UK premiere in 1994, and that was its last outing here! The chorus is very good, but there were fewer outstanding leads (except the gorgeous soprano Elena Sancho-Pereg again!) and the set was rather ugly.

The London Handel Festival puts on a fully stage opera every year (and there are c.45 to choose from!) and this year was the best I’ve seen, in fact one of the best Handel operas I’ve ever seen.  Il Pastor Fido is a ‘pastoral’ (you know…..gods and shepherds, everyone loving someone who doesn’t love them, but it all ends happily!) with a dance-opera prologue and dances to end each act. What made this stand out was the most faultless and beautiful playing and singing, aided by the Britten Theatre’s terrific acoustic. I’m not sure I’ve ever seen eight pitch perfect and perfectly matched performances; it was 190 minutes of gloriously uplifting music and it flew by.

Hungarian composer Peter Eotvos has created an opera from Tony Kushner’s extraordinary epic play Angels in America and very good it is too. It was given a semi-staged performance at the Barbican with the BBCSO and an excellent, mostly American, cast. He’s managed to distil it from over 6 hours to just over two without losing the essence of the play. I really hope it gets a staging here soon, as it has in France, Germany, The Netherlands and the US.

Katya Kabanova at ENO was a musical treat with superb singing and playing. The minimalist set (you know chipboard, no colour, jagged angles and shadows) somehow heightened the drama, but I’m afraid I didn’t engage with it emotionally. Still, it sounded gorgeous.

DANCE

Sutra is an extraordinary multi-cultural collaboration between choreographer Sidi Larbe Cherkaoui, sculptor Anthony Gormley, musician Szymon Brozoska and the Shaolin Monks from China! Its contemporary dance meets martial arts, though less athletic than I was expecting. The use of 21 coffin-like boxes is brilliant and I liked the score, played live by a 5-piece ensemble including the composer. In the end though, I’m not sure it’s the classic the critics have hailed it, though I was glad to have caught it. We smiled at the incongruity of a large group of the monks getting on the bus back to the tube after the show!

FILM

I can’t put my finger on why I’m indifferent about Tim Burton’s Alice in Wonderland. The 3D as quite good, but nothing like Avatar at the IMAX, and there are some lovely characterisations in both acting (Helena Bonham-Carter in particular) and voice (Alan Rickman stands out). It just wasn’t magical and other-worldly enough!

I loved Crazy Heart, a film about a burned out alcoholic Country star for which Jeff Bridges won a well-deserved Oscar. For an American film on a subject like this, it was surprisingly unsentimental and all the better for it. T Bone Burnett’s music was excellent.

I’m not keen on war films – relentlessly depressing – but I felt I should catch The Hurt Locker given all those awards, and was very glad I did. It’s an extremely well-made film which manages to drive home the point that these wars are pointless and impossible to win than any news or documentary I’ve seen. Still relentlessly depressing though!

ART

Though I’m glad I went to see it, the Paul Nash retrospective at Dulwich Gallery doesn’t really satisfy. There are eight great pictures amongst a selection of work which seems to me to show a restless man who kept changing, not in an inventive way, but in an ongoing search for his own style.

You think you’ve never heard of Paul Sandby until you set eyes on the iconic 18th Century watercolours, sketches and maps at his exhibition in the Royal Academy and realise you’ve seen many as prints. It’s a very comprehensive collection and you get a real feel for how a man like this made his living more than 200 years ago. I was particularly taken with a picture of Cardiff with the original west gate and wall; I never knew Cardiff had a wall and it’s 10 miles from where I spent the first 18 years of my life!

Irving Penn’s Portraits is one of two fine exhibitions at the National Portrait Gallery. The originality of his B&W images rests on a complete lack of distracting décor and the fact that he often places his subjects into restricted spaces or limits the portrait to less than the whole of his subject. I liked them a lot more than I thought I’d like Vogue photos! In contrast, the second exhibition of Indian Portraits spans 300 years from the mid-16th century to the mid-18th century and it’s rich with colour and detail and includes fascinating scenes of life.

There’s a really quirky installation at the Barbican’s Curve gallery from eccentric Frenchman Celeste Boursier-Mougenot . After walking through a dark space on decking with projections of guitarists playing but a soundtrack of birdsong, you get to a bright space with islands of sand containing guitars and cymbals being ‘played’ by zebra finches landing on them as they fly around the space. Just when you thought you’d seen it all…..

Until now, the work I’ve seen by Chris Ofili has left with a ‘so what’ feeling. I felt the same at the beginning of his retrospective at Tate Britain – his obsession with elephant dung, afro hairstyles and black women all seem rather childish, though I did like the colours and the titles ( including ‘7 bitches tossing their pussies before the divine dung’, ‘7 brides for 7 bros’ and ‘Albinos and bros with fros’!) made me smile. An extraordinary amount of money has been spent on a housing for his 13-painting series The Upper Room which I’m not sure it deserves. There’s a fun room of rather different series pictures, some a clear homage to Japanese woodcuts, a less successful room of obscure dark blue paintings and a final room of very different new work. In the end, it rather grew on me and walking back through it a couple of times, I stopped thinking and just enjoyed the colourfulness and playfulness of it all.

Tate Modern’s poster for its Arshile Gorky exhibition totally misrepresents it and drags people in under false pretences; if I’d paid, I’d be demanding my money back! The lovely poster picture is one of a handful in one room out of eleven rooms; the rest is shit (and if you change the ‘i’ to ‘o’ in his first name that would seem appropriate!). Their other current exhibition is a bit more interesting (only a bit mind), covering the impact in the 1920’s of magazine / movement De Stijl led by Theo van Doesburg. Painting wise it’s a lot of Mondrianesque red, black, white, blue and yellow boxes; I found the impact on design and graphics more interesting.

Visiting the Ron Arad exhibition at the Barbican was less of a must and more of filler; I was in the building with time to kill! Maybe that’s why I was so bowled over by it. I knew him as a man who designed interesting chairs, which he does, but he’s so much more – a designer-artist-sculptor-architect. The architecture was astonishing and completely new to me, and there were other objects like bookcases, vases and lamps. I loved Lolita the chandelier – you could text a message to her and it appeared as a scroll on Lolita! The exhibition design was terrific (he designed it himself) adding much to the pleasure of the experience.

Finally (anyone still there?) the Horace Walpole / Strawberry Hill exhibition at the V&A was interesting, though rather dull in presentation. A fascinating man with a great eye for art, design and style who ‘collected’ much more than the gothic he is best known for.

Phew; time to go on holiday for a rest……

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