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About yamey

Active author and retired dentist. You can discover my books by visiting my website www.adamyamey.co.uk .

Gone forever: a wonderful bookshop in Bangalore (Bengaluru)

HERE IS A BRIEF excerpt from my book “CORACLES AND CROCODILES: 101 TALES OF INDIA”. It comes from a chapter on the booksellers in Bangalore (Bengaluru), and is about a remarkable bookshop that, sadly, no longer exists. Here is the extract from my book:

Premier, one of the most fantastic bookshops that has ever existed, is also no more. It closed some years ago when its owner, Mr Shanbag, retired. I felt almost as if I had suffered a bereavement when I arrived where the shop used to be located on the short stretch of Museum Road between MG Road and Church Street, and found that it was no longer there. I still mourn its passing.

From the outside, Premier could have been mistaken for a newsagent. A rack of magazines stood by the shop’s entrance. When you stepped inside, you felt as if you had entered a book-lover’s Aladdin’s Cave.  Mr Shanbag, who was related to the founder of Strand Bookstall in Bombay, used to sit by the entrance, hidden behind the piles of books and bits of paper cluttering up his tiny desk. The rectangular shop’s walls were lined with books stacked one upon each other, from floor to ceiling. A central divider was covered in books. Two narrow corridors ran along the length of the shop allowing customers and staff to penetrate the dingy depths of the establishment. Deep inside the shop there was a narrow, book-lined passageway connecting the two main corridors. This was so narrow that most adults, and obese children, needed to progress sideways along this claustrophobic book lined chasm.

In most bookshops, customers can pick a book from a shelf, browse it, and then replace it if necessary. This was not the case at Premier.  Only the foolhardy or a newcomer to the shop would attempt to take a book from the tall, precariously stacked piles on Premier’s bookshelves. A 19th century French composer, Alkan, was killed when he was crushed by books collapsing on him in his library. A possible injury awaited any customer who attempted to withdraw a book from Premier’s hazardously stacked shelves. One could say that the books were stacked perilously. One careless move would initiate an avalanche of literature – both fiction and non-fiction. This often happened. Shanbag would raise an eyebrow, and then he or one of his assistants would restore ‘order’ in the shelves.

You may well wonder how customers ever managed to browse in Premier. It was simple. All that was necessary was to ask Shanbag or one of his helpers to retrieve the book for you. If you were unable to see the book that you desired amongst the huge number of volumes stacked in the shop, Shanbag would be able to tell you instantly whether he had it in stock, without resorting to a computer or any form of catalogue. He knew exactly what he had in his shop, and where a book was located if he stocked it. And when you had made your selection, he would prepare a bill, and then knock 20% off the final total if you paid in cash.

A remarkable thing about Shanbag was his great understanding of his regular customers’ reading habits. He could remember what each customer had bought previously …

You can find out more about Premier as well as many aspects of life in India in my book/Kindle, which is available from Amazon stores such as: https://www.amazon.co.uk/CORACLES-CROCODILES-101-TALES-INDIA/dp/B0DJZ6DMYB/

Do not expect to get your prescription honoured at this pharmacy

LOVE HIM OR HATE him, there is no denying that the artist Damien Hirst (born 1965) has plenty of imagination. Between 1997 and 2003, he created a restaurant in London’s Notting Hill Gate. It was called Pharmacy, but had to change its name after the Royal Pharmaceutical Society of Great Britain objected to it. Its new names were anagrams of the old: first Achy Ramp, and then Army Chap. Its decorative theme was pharmaceutical. For example, its walls were lined with cupboards containing (empty) drug and medicine packaging, as well as clinical equipment. It gave the visitor the impression of being in part of a busy hospital or clinic. From what I can remember of the place, its décor was vastly more exciting than the costly fare served to its customers. I was sad when it closed as it was a distinctive landmark in the area.

In 2016, Damien Hirst opened Pharmacy 2 on the first floor of his recently completed Newport Street Gallery (near Lambeth Palace). For a few years, this pharmacy themed restaurant offered a range of food and drinks, none of which were cheap. The interior of Pharmacy 2 follows on from the original art-installation-cum-restaurant design of the Notting Hill Gate version. An online article (www.dezeen.com/2016/02/18/damien-hirst-pharmacy-2-restaurant-mark-hix-newport-street-gallery-caruso-st-john-london/) describes the place well:

Similar to its predecessor, which was designed by Barber & Osgerby’s interiors company Universal Design Studio, the interior follows a clinical theme inspired by Hirst’s 1992 artwork Pharmacy. Images of tablets and brightly coloured pills have been embroidered onto leather banquettes and embedded into the marble floor. Bar stools are topped with pastel-coloured pill-shaped seats. Walls are covered with a silver-coloured wall chart of pills and pharmaceutical products first produced for the original Pharmacy restaurant … A neon prescriptions sign hangs above the bar, along with a series of sculptures based on molecular structures. Windows are covered with dark-coloured translucent vinyls. Stark lighting is used to reaffirm the restaurant’s pharmaceutical theme.”

These words give some idea about this fantastic place, but it must be seen to be believed. 

Pharmacy 2 has not been functioning as a restaurant for several years. When we visited Newport Street Gallery in May 2025, Pharmacy 2 was open to the public, and visitors can serve themselves with tea and coffee without charge. On each of the restaurant’s tables, there are art books for visitors to browse. The young man, an invigilator, who was keeping an eye on the place told us that occasionally the restaurant is revitalised for feeding visitors participating in special events. At these ‘pop-up’ events, meals are costly.

Pharmacy 2, like its predecessor in Notting Hill Gate, is an art installation. It is appropriate that the canteen of the Newport Street Gallery is not merely a restaurant but also an amazing work of art.

The imagination of an artist and artificial intelligence (AI)

DAVID SALLE WAS born in 1952 in Oklahoma (USA). Between 1970 and 1975, he studied at the California Institute of the Arts. A painter, he lives and works in Brooklyn, New York. There is an exhibition of his strange, colourful paintings at the Thaddeus Ropac Gallery in London’s Dover Street until 8 June 2025. 

The paintings on display are strange compositions in which everything seems to be in the wrong place, perspective is confused, and the laws of gravity seem to have been forgotten. Yet the objects and people in the paintings have been depicted in a straightforward way, without distortion or abstraction. What was going on in the artist’s mind?

Salle, an innovative artist interested in developing new techniques, has employed artificial intelligence (‘AI’) to help him compose these images. Let me explain. Between 1999 and 2001, Salle produced a series of paintings inspired by a nineteenth century opera backdrop. He scanned these images into a machine with AI capabilities, and then, without providing any text prompts or instructions, he got the machine to use its AI to warp the scenes on his paintings to create new images that contain and reconfigure all the elements in his original pictures. In this way, he obtained new compositions, on which he has based his new paintings – those on display at Thaddeus Ropac. Regarding Salle’s innovation, the gallery’s press release noted:

“Painting is a technology in its own right, one that, as the history of art attests, has advanced over millennia through relentless modification and reinvention. For Salle, it is incumbent on the artist to make use of the tools available in their time, whether egg tempera, oil paint or photography. AI is useful ‘since it doesn’t know what it’s doing,’ he says. ‘It can violate all the rules of depiction without a pang of conscience.’ Like the human eye, it rapidly scans, processes and distils an endless stream of visual information … Avoiding the pitfalls of ‘generic’ digital imagery, the result is a highly concentrated visual vocabulary, which is enriched and intensified by further layers of overpainting. In concert with the reverberations of his past pictorial invention, Salle stages what curator Nancy Spector describes as a ‘duet for one’.”

This exhibition show how AI can be used intelligently and imaginatively by those working in the arts. Even if one had no inkling that Salle had created the paintings with the help of AI, what can be seen of his work at Thaddeus Ropac is both attractive and intriguing.

The Power and the Glory by Connor Hirst in south London

THE NEWPORT STREET Gallery, which is in a side street not far from Lambeth Palace and the Garden Museum, was opened in October 2015. Housed in a building originally built in 1913 as a theatre carpentry and scenery production workshop, these spacious premises are used to display selections from the huge number of works that have been collected over the years by the artist Damien Hirst. The current exhibition, which has been curated by Damien’s son Connor Hirst, is called “The Power and the Glory”, and is showing until 31 August 2025.

The walls of the rooms in the gallery are lined with photographs of atomic and hydrogen bomb test explosions (‘mushroom clouds’ etc.), as well as of the devastation that the former caused in Hiroshima and Nagasaki. Although many of the photographs are beautiful as works of art, they are grim reminders of the horrific destructive forces unleashed by detonating nuclear bombs. However, as the curator explained, many of the photographs have been composed in such a way that the viewer is unaware of the destruction going on beneath the picturesque clouds.

While the walls of the rooms are lined with photographs, the rooms contain many beautifully shaped (mostly shaped by nature) pieces of rock. They include a selection of so-called ‘scholar’s rocks’. These have been collected in China since the Song Dynasty (960-1279 AD), and appreciated for their inherent beauty. Most of them were found either in caves in Guandong province or at Lake Tai or in the Lingbi region. Amongst the collection of scholar rocks, there are some Japanese ‘water stones’, which are often shaped like mountains and waterfalls.

The stones are intrinsically beautiful and provide an interesting contrast to the photographs surrounding them. However, although the rocks and photographs served different functions, when displayed together as they are at the Newport Street Gallery, they cannot help becoming interlinked in the viewers’ minds. I could not help thinking that these rocks could easily have been similar to the fragments of buildings destroyed by the bombs at Hiroshima and Nagasaki.

Out to lunch in the countryside of Hertfordshire

EVERY NOW AND THEN, we feel the need to leave London, and sample the country life. Recently, we decided to visit Buntingford, a small town in Hertfordshire and to eat lunch at a pub nearby. Using the Internet, we chose one at random. It was the Sword Inn Hand in the hamlet of Westmill, which is a few miles south of Buntingford.

It was an excellent choice for two reasons. First, Westmill is a neat, picturesque little settlement. Secondly, the pub served excellent food in a pleasant ambience and, more importantly, the staff were friendly and extremely obliging. The pub has been in existence since the 14th century but looks as if it has been modified considerably since then. It is next door to the grounds of the medieval parish church, which was locked when we were in Westmill.

After visiting some family members in nearby Baldock, we returned to London, having had a satisfactory few hours’ experience of country life.

If you are feeling peckish in Peckham …

GENERALLY, I AM NOT A FAN of food courts. Many of them in England are merely a collection of branches of well-known fast-food chains (such as KFC, McDonalds, Pizza Hut, Subway, and Burger King). A notable exception to this is a food court in Trinity Market in Hull, which visited in April 2025. On 9 May 2025, we visited Peckham in south London, having just viewed an exhibition in nearby Camberwell.

While strolling along Peckham’s busy Rye Lane, we came across the entrance to Rye Lane Market. After entering it and walking along an arcade lined with shops, we arrived in a large, covered area filled with food stalls: a food court. Unlike many other food courts, the food outlets were not branches of well-known chains. Instead, there were stalls catering to the multi-ethnic local population. We sat down at a table that was surrounded by stalls serving Mexican, Carribean, Colombian, and other many cuisines. We ordered the set lunch offered by a small Peruvian kitchen. As first courses, we ate cold boiled potatoes dressed in a red pepper flavoured mayonnaise and a delicately flavoured beef soup. These were followed by a fried rice dish containing chicken, pork, and smoked sausages, and another consisting of a whole fish beautifully fried, served with lentils, rice, and a salad containing onions, lime juice, coriander, and tomatoes. Freshly prepared and reasonably priced, everything was delicious.

There were more stalls serving food from other countries, mostly Latin American and African. One stall offered a range of vegetarian Indian dishes, including a snack, dabeli, that is popular in Kachchh (once an independent state, and now part of Gujarat). The lady working there told us that she is from Rajkot in Gujarat. When we mentioned to her that we have always thought that dabeli is a dish from Kachchh, she said it was Gujarati, but added that:

“It does not matter because the people of Kachchh are our brothers”.

Our first visit to Rye Lane Market’s food court has whet our appetites for further visits. There are so many enticing dishes on offer that I feel sure that we will venture across the Thames more often to sample the fare offered in that food court.

Between chance and control on sheets of paper

THE ARTIST BARBARA Nicholls (born 1963) invited us to the opening of her solo show at the Patrick Heide Contemporary Art gallery in Church Street, near Edgware Road. All her creations on display are watercolours on paper. Each of them resembles what looks like a natural phenomenon, but an imagined one. Although her pictures do not depict actual natural occurrences, each one of them is a result of the artist exploiting the unpredictability of the behaviour of the materials she is using at the same time as exerting some control over how they behave. To give some idea of what I am trying to say, here is something written in the notes issued by the gallery:

Nicholls’ operations begin at times with large-scale sheets of heavyweight paper laid flat on the studio floor. The physicality of her practice is vital; she moves across and over the surface, first guiding water into pools or creating delicate lines with transparent washes. Once water touches the paper, it no longer remains flat, requiring Nicholls to carefully manage the buckling surface as she introduces pigment, experimenting with how much liquid the paper can handle. The drying process can be natural or carefully controlled through appliances like electric fans and heaters, which create microclimates that accelerate evaporation, allowing layers of colour to settle and crystallise over time.”

In other words, the artist chooses the places on the paper  where the pigment and the water can be allowed to act as nature determines, and then lets them get on with it, producing whatever result the conditions permit. Thus, she covers the paper with a composition that is partly her choosing and partly the result of chemical and physical processes within the areas she has chosen for them to occur. The results are colourful abstract images, which are both beautiful and intriguing.

The exhibition continues until 21 June 2025.

A birth at Bethlehem seen through the eyes of a Ugandan

TO THOSE ACCUSTOMED to seeing European depictions of the birth of Jesus at Bethlehem, a picture currently (May 2025) on display at the SOAS Gallery in London’s Bloomsbury might come as a surprise.

In 1958, the Ugandan artist Francis Musango (1932-2005) painted his “Birth of Christ”. Set in a luxuriant tropical landscape, everyone in the manger where Jesus is lying has a black African face. When I saw this painting yesterday, 8 May 2025, it was the first time I had seen a Nativity scene in which all the people are Africans. Jesus was born in what is now the Middle East, yet in many European depictions of this historic birth, the faces of the people in them have European rather than Semitic physiognomies. So, it is perhaps not so surprising that an African artist should have chosen to populate his Nativity scene with people who look African rather than Semitic.

Musango is not an artist whom I have come across before. So here is something about him on the SOAS website:

“Francis Musango trained as a teacher and also joined the religious order of ‘The Brothers of Christian Instruction’. In 1954 he gained a scholarship to the school of art at Makerere University, where he studied under Trowell’s tutelage. Subsequently he worked as an art educator in Kitovu and later as Inspector of Schools, Arts and Crafts (1970-77), promoting art in the Ugandan curriculum. He became a lecturer at the Makerere School of Art in 1977 and head of department from 1986 to 1988.”

An ingenious use of simple matchsticks in a work of art

FROM AFAR IT LOOKS like a small red and black oriental rug, but as you approach, it is not what it seemed at first sight. This artwork by Hadi Rahnaward, who was born in Afghanistan in 1986 and now resides in Belgium, is made with matches, glue, and other materials. The matches used are of two sorts. Some are tipped with black material, and the others with red.

The matches have been glued to a base so that each one of them is vertical and standing with its tip pointing upwards. They have been placed close to each other in such a way that their tips form a mosaic resembling a patterned oriental carpet or rug. The artist made this incredibly intricate creation in 2023. It is one of a collection of often intriguing artworks by young artists from south Asia and Afghanistan being exhibited at the SOAS Gallery (formerly known as the ‘Brunei Gallery’) in London’s Bloomsbury until 21 June 2025.

One of the other exhibits that intrigued me is an embroidery by Varunika Saraf (born 1981), who lives and works in Hyderabad (India). Called “The Longest Revolution” and made in 2024, this embroidery depicts many features of Indian women’s struggle for basic rights and parity with men. This busy looking artwork depicts many aspects of women’s political struggles, and in places reminds the viewer of some parts of the Indian Constitution that appear to have been considered less relevant than previously by some in India during the last few years. Even if the political content of this piece is ignored, it is an eye-catching work of art.