He stands wash’d by waves,
Lost in the sea of time
Sculpture is “Another Time” at Margate (Kent) by Antony Gormley
He stands wash’d by waves,
Lost in the sea of time
Sculpture is “Another Time” at Margate (Kent) by Antony Gormley
At first sight, I thought I saw a man standing alone and naked out in the waves at Margate on a sunny but very windy afternoon. Crazy, I thought to brave those rollers on suchb a cold day and without a wet suit. Then, I noticed that he was coloureed green and motionless despite the battering he was getting from the sea. He was not a man, but a sculpture.
This sculpture braving the sea is Another Time created in 2013 by the British sculptor Antony Gormley (born 1950).
The clever thing about this sculpture is placing it in the water. Though static, the waves dashing against it can create the illusion that the sculpted man is moving. Also, by putting it in the sea, the whole sea becomes an important part of the artwork.
Although I am not too keen on Gormley’s art works, this piece at Margate, just outside the Turner Contemporary art gallery satisfies me greatly.
You can now see the sculpture and the waves in this short video: http://www.ipernity.com/doc/adam/48815810
Once again, London’s Kew Gardens is hosting an exhibition of glass sculptures by Dale Chihuly (born 1941). The amazingly crafted glass artworks of often quite complex design have been placed both in the open-air and inside some of Kew’s lovely old glass-houses.
The curvy tubes with pointed ends shown in my photograph have been tastefully planted in a grassy field dotted with tulips. In the Temperate House, a large glass mobile has been suspended from the ceiling and smaller objects mingle with the plants. Wherever you look, you will find glass artefacts in intimate contact with the plants growing around them. In the Water-Lily House, large glass sulptures evoking the flowers of water-lillies mingle with the real plants whose fronds float on the water.
As time passes and the plants grow more, some of Chihuly’s colourful glass objects will become harder to find. The plant-like forms of many of the artworks mix with the plants to provide in some cases a stark contrast or in others they almost blend with the plants around them.
It is well worth visiting Kew whilst these sculptures are on display. However much I like the glass artworks, the stars of the show are for me the plants themselves (rather than the sculptures). This highlights how difficult it is for man to compete with nature on the aesthetic playing field.
The Chihuly works are on display at Kew Gardens until the 27th October 2019
This evening, I attended a performance of A Musical Offering by JS Bach (opus BWV 1079) at the Royal College of Music in Kensington. Each of the sections of this work was introduced by the conductor, Joe Parks, who explained what was musically interesting about them.
The whole piece is based on a theme composed by King Frederick II of Prussia. He gave it to Bach on the 7th of May 1747, and challenged the composer to do something interesting with it. A Musical Offering is what Bach did with the King’s theme. I am no musician, so can hardly explain the compositional procedures with which Bach exploited the King’s somewhat dull theme. For example, in one of the sections improvisations on the theme are played with musicians simultaneously playing the modified theme both forwards and in reverse. In another section, the theme is improvised in a range of different keys. In brief, this piece by Bach is both intriguing and challenging for musicians. Although this aspect of the music is lost on me, my enjoyment of the work was not impaired.
What fascinates me is that a piece of music so full of compositional twists and turns is a delight to hear. Bach has not only satisfied his desires to hone his compositinal technique in this piece, but also he has created a work that is highly satisfying to the listener.
Great music like great paintings reach into the the inner subconscious of the listener or viewer and thereby evoke an almost visceral sensation of joy. It does not matter that the music is full of compositional magic or the painting might be impressionistic or abstract because the great artist knows how to produce a work that reaches those hidden parts of the body that evoke feelings we call emotion. Without doubt, A Musical Offering did that for me.
“Come up and see my etchings…” is often interpreted as being an invitation to sexual adventures. But when I used to say those words, there were, actually, genuine etchings to be viewed.
My late mother had a cousin Dolf Rieser (1898-1983; https://dolfrieser.com/biography/), who used to hold classes to teach etching and engraving. He lived in West Hampstead. I used to attend his classes onc evening a week while I was a dental student (1976-82). Dolf was an excellent teacher and an inventive artist. His comments on composition were constructive and and always apt.
Dolf, who had a doctorate in some aspect of biology, became interested in art long before WW2. In the compulsory tea breaks that we had during the classes, he would tell us about his life as a young artist in Paris. He would frequent the same cafés as Picasso and other famous artists. The great artists in Paris during the thirties sat at one table presided over by Picasso. Budding artists like Dolf sat at neighbouring tables. He was very proud of a small picture by Joan Miró, which hang next to the door to his studio in London. Miró, who was five years older than Dolf, had presented his picture to his young friend ( i.e. Dolf).
Having studied in Switzerland, Dolf had learnt how to ski in the 1920s. He used to ski every year in Switzerland while he was becoming an artist in Paris. He told us that in the thirties when he used to arrive at the railway station in Paris in order to visit the mountains with his skis, people would stop him to ask him what he was carrying because in those days hardly anyone in Paris went skiing. Few people in Paris had ever seen skis.
I loved the classes. It was wonderful becoming so immersed in what I was doing that I lost all sense of time and, more importantly, everything that was worring me at the time evaporated from my head during the three hours each week while I was engrossed in creating an artwork.
I graduated as a dentist in early 1982 and went into practice. Soon after that, Dolf died. Also, my urge to create artworks (prints, drawings, and paintings) seemed to disappear. I suppose that was because I was working all day with my hands in the surgery, my need to do fiddly manual tasks in my spare time, such as drawing and etching, diminished.
By now, you are probably wondering whether I ever invited anyone to come up and see my etchings. Well, of course I did, but I will not tell you whom I invited. Suffice it to say that the woman I eventually married has a good collection of my works!
The picture is a detail of an etching by Adam Yamey
I was visiting Christie’s auction house in London to view some modern art being displayed prior to an auction.
Seated by a large painting by David Hockney, there was a well dressed man looking at his mobile phone.
A decorous young lady sauntered up to him and said in a French accent:
“Do you follow me on Instagram?”.
The man looked up and said:
“No. Who are you?”
How sad is that?
In India, I have become used to seeing rules disobeyed. One only has to watch road traffic to see plenty of transgressions.
However, usually regulations forbidding photography in museums and art galleries are rigidly enforced. While trying to sneak an illicit photograph in the Mysore Palace, my camera was temporarily confiscated. I was able to recover it by giving the official a small financial ‘gift’. A member of my family was asked to delete a couple of photos taken against the rules in the National Gallery of Modern Art (NGMA) in Bangalore.
I was disappointed to find that the NGMA in Bombay also forbids photography unless it is for professional purposes, for which a fee of 1000 rupees (currently about £11) per image is levied.
The NGMA in Bombay is housed within a lovely old building, the Sir Cowasji Jehangir Public Hall. Its contemporary interior, where artworks are displayed, is a lovely example of contemporary design. I was itching to photograph it. We asked one of the security men if I could take a picture of the general layout of the gallery without focussing on works of art. To my great surprise, he said that I could do it.
After viewing the whole gallery, where works of the socially conscious political artist Navjot Altaf were on display, I heard a visitor asking another official whether he could take ‘selfies’ in the gallery. He was told that he could not take selfies, but he could take photos of anything else in the NGMA. Again, I was surprised, not about the selfies, but about photography being permitted in a place full of notices forbidding it.
Well, I was pleased to discover that Indian flexibility about interpreting rules extends to the NGMA in Bombay. Hats off to the people who work there!
We have recently returned from Cochin (in Kerala, South India), where every two years there is a huge art exhibition, the Kochi Muziris Biennale, that is open for just over three months. The artworks on display are supposed to conform in a loose way to a theme chosen by the chief curator. The artworks are not for sale at the Biennale.
Once a year early in each January, a one day art festival called Chitra Santhe is help along Kumara Krupa Road in Bangalore. This tree lined thoroughfare runs past both the Bangalore Golf Club and also the Chitrakala Parishadh, a leading art school.
Many artists display their works along the street. Their aim is to sell to the thousands of passers by, who amble leisurely past them. The quality of the artworks varies from highly skilled to colourful kitsch. All tastes are catered for. Many visitors wander about with their wrapped purchases under their arms.
The atmosphere at Chitra Santhe is festive. The January temperatures make for pleasant outdoor art viewing. Unlike the Biennale in Cochin, there is no theme unifying the artworks on display apart from the artists’ desire to sell. The artists are happy to discuss their works and are not pushy salesmen. Prices range from very low to not unreasonably high.
If you happen to be in Bangalore on the first Sunday in January, then an hour or so at the Chitra Santhe should prove to be a rewarding and enjoyable experience.
Is it ego that
Plac-es art apart from
Other human pursuits?
The Kochi Muziris Art Bienniale is back again. We have attended two of the three previous biennales, those in 2014 and 2016.
The biennales run from mid December to the end of the following March. A joy of this biannual exhibition is that artworks are displayed in many heritage buildings that are not normally accessible to the public. Visitors get a chance to view many fascinating buildings that form part of the history of the port of Cochin.
Today, we visited the main base of the Biennale, which is housed in the buildings of the former Aspinwall company compound.
Works by many artists are on display in the various spaces within the extensive compound. This year most of the works on display are either video installations and/or conceptual art. There are a few works that are otherwise. I was disappointed by this year’s showing as compared with what I saw in previous years’ biennales. The selection of artworks seems unexciting, tired.
However, one work in this year’s show at Aspinwall stands out way ahead of the rest. It is “More Sweetly Play the Dance” made in 2015 by the South African artist William Kentridge.
Moving images are projected onto eight large screens. These images are both drawn (as in cartoons) and photographic. A procession of figures, both drawn and photographed, move from one screen to the next, travelling through a drawn landscape that changes continuously in subtle ways. The motion projected on the screen is accompanied by a brilliant musical soundtrack that is inspired by African music. The result is a spectacular audio visual experience that is both joyous and slightly sinister. I felt that the ‘white’ Kentridge was portraying the experiences of South African Black people, both their joys and their tragedies. His work, on display in a large warehouse with a tiled ceiling at Aspinwall, is truly artistic at all levels of appeal, from the sensual and emotional to the intellectual. It is a positive contrast to much of the other art on display at Aspinwall, which requires explanation before it might possibly be enjoyed.
I look forward to visiting many of the other places connected with the Bienniale. I hope that I will be seeing art that grabs me emotionally as well as intellectually.
PS Since writing this, I have visited many other parts of the Biennale. Some of these, especially the places housing the works of current art students (The Students Biennale) and the artworks in the TKM Warehouse, are outstandingly good. If you are in Cochin for a limited time, skip Aspinwall and head for Mattancherry where the most exciting works are on display.