SOME SAY SMALL is beautiful. But can colossal also be beautiful? This is something that can be explored at the Thaddeus Ropac Gallery in London’s Dover Street until 2 April 2025, where three much larger than life realistic looking sculptures of dogs are on display. These dogs, each about 10 feet high, have been created by the artist Ron Mueck, who was born in Australia in 1958. He now works in the UK.
As the gallery’s website explained:
“Over a career spanning three decades, Mueck is celebrated for exploring the physiological implications of scale. Whether miniaturised or enlarged, his use of scale heightens our awareness of the relative spaces our own bodies occupy, as he charts the full spectrum of human experience with striking perceptiveness.”
The three dogs on display in the exhibition ought to feel menacing, but I did not experience this sensation. I was more amused than over-awed.
IN 1847 ISAAC D’Israeli (1766-1848) purchased Hughenden Manor in the Chiltern Hills west of London. When he died in 1848, the manor became the property of the Conservative politician Benjamin Disraeli (1804-1881), who was Prime Minister of the United Kingdom twice (1874-1880 and for a few months in 1868). Apart from Hughenden, Benjamin Disraeli also had a home in London, where he died. Both he and his wife are buried in the church near to his country home at Hughenden Manor. In addition to his many impressive political achievements, Benjamin wrote novels. I have read one of them, “The Rise of Iskander”, which is about the Albanian hero Skanderbeg. It is not a novel that I would recommend reading.
The mansion at Hughenden Manor was constructed near the end of the eighteenth century, and was heavily remodelled according to the tastes of the Disraeli family when they acquired it. The ground floor rooms are good examples of the gothic revival style. Some of the ceilings on this floor have fan-vaulted ceilings. We were lucky to have visited the place on a bright sunny day because even then, the rooms are pretty gloomy. On an overcast day, the place would seem quite melancholic. The dining room, which we saw at just before midday was depressingly dark, and made even worse by the presence of an enormous portrait of Queen Victoria that overlooks the round dining table. Disraeli (Benjamin) must have been a great ‘fan’ of Victoria because his bedroom on the first floor is filled with portraits of Victoria and her family, which the Royal Family gave him. The bedroom and other rooms on the first floor are far brighter, better illuminated through the windows, than those on the floor beneath, These first floor rooms are, luckily, not adorned with the ‘over-the-top’ gothic revival décor, which mars the ground floor’s appearance.
The mansion at Hughenden Manor is certainly not one of the most beautiful houses maintained by the National Trust, but the hilly grounds surrounding it are wonderful. When (if) we visit Hughenden again, we will miss out entering the house, and concentrate on enjoying the gardens and countryside around it.
THE PROVOCATIVE CHINESE artist Ai Weiwei was born in Beijing in 1957. He now works in places around the world including Beijing. In 2011, he was arrested in Beijing and held without charge for 81 days. At other times, he has been harassed by the Chinese state. Despite this and his overtly artistic criticism of the ruling regime of the People’s Republic of China and several periods of exile from that country, he now spends some time working in his studio in a house near Beijing. The rest of his time is spent working in various places including Cambridge (UK), Lisbon (Portugal), and Berlin (Germany). At the Lisson Gallery in Bell Street (near London’s Edgware Road stations), there is a small but wonderful exhibition of works by Ai Weiwei, which will continue until 15 March 2025.
The exhibits on display at the Lisson Gallery demonstrate the incredibly inventive and imaginative nature of Ai Weiwei’s creations. Two of the works on display are rusted cast-iron sculptures. Two huge images, one in the style of Van Gogh and the other in the style of Gauguin, are made using many thousands of tiny toy (? Lego) bricks of different colours. From a distance these, and other large pictures made with the tiny bricks seem as if they are painted, but seen close-up it is obvious that the images are a complex mosaic of toy bricks.
Other exhibits also employ Lego bricks. These are not flattish creations like the ones mentioned above, but three-dimensional sculptures. In each case, the artist has taken an object (e.g., a rusting military helmet or a porcelain model of a lion) and partially enclosed it within a structure made of Lego bricks.
Buttons are extensively employed in other exhibits. Ai Weiwei sourced the buttons from the now closed A Brown and Co Buttons factory. The buttons, which are variously coloured, are used like the Lego bricks to produce mosaics depicting words and images. The buttons are sewn on to fabrics and in one case onto a ring of sandals.
Without doubt, each of Ai Weiwei’s creations are based on his interpretation of events historical and contemporary. However, although knowing the ideas behind his artworks adds to the understanding of the show, the exhibition at Lisson Gallery can be enjoyed without any knowledge of what was going through the artist’s head while he was creating the works.
THE HUGE TURBINE Hall that forms the entrance and centrepiece of London’s Tate Modern is used for temporary exhibitions. Until 16 March 2025, the Turbine Hall is home to a somewhat weird but visually fascinating art installation, “Open Wound, created by Mire Lee, who was born in South Korea in 1988.
At first sight, it seems that discarded skins of various shapes and sizes are hanging from the ceiling. Standing on the floor beneath some of them is a tall tower that carries what looks like a piece of ageing industrial machinery suspended from an overhead crane. This rotates slowly while drops of liquid fall from it onto some of the skins and elongated sausage-like pieces of fabric before dropping into a pool on a large piece of stretched material. Set in the lofty, rather inhuman, Turbine Hall, this installation made me feel as if I were inside an enormous abattoir.
Apart from being intriguing to look at, I was not sure what to make of it. The Tate’s website noted:
“Lee believes ‘being moved is the strongest thing you can experience through art.’ Reflecting on our current historical moment, Open Wound conjures ‘the mood of a deserted construction site’, an atmosphere of ‘futility and melancholy, where something has started to wither.’ Despite this, the collective ‘skins’ of the living factory suggest an eerie solidarity. They mutate the Hall into an intimate space of ‘dream and distant memory’, in which such feelings can be shared.”
Well, having seen the work in the Turbine Hall, these words made sense. I am not sure that I would recommend people going out of their way to see this installation, but if you had other reasons to visit the Tate Modern, then do spend a few minutes looking at Mire Lee’s creation.
SCULPTURE CAN BE APPRECIATED by enjoying the light reflected off it or passing through it, by touch, and sometimes by sounds it makes. Today, at London’s Tate Modern gallery, I saw an exhibition of sculpture that can be seen, but cannot be touched or even heard. The exhibits were beams of light projected onto screens through a room filled with the sort of smoke used in theatres to create haziness. All these exhibits were created by the British artist Anthony McCall, who was born in 1946.
The projected light creates often changing patterns on broad screens. What makes the exhibits really exciting is that the slowly moving smoky haze in the room allows the viewer to see the paths taken by the projected light through space. These three-dimensional envelopes of light produce interesting sculptural forms, but unlike most sculptures, the viewer can move through them unimpeded. And while moving through these space-filling light formations, the viewer modifies their shapes and what is projected onto the screens. The results are both intriguing and beautiful, apart from being quite unusual. Words cannot adequately describe what we saw at this show. You need to experience it for yourself to enjoy this intangible but intensely visual sculptural show, which is continuing until 27 April 2025.
WHENEVER WE HAVE HIRED Uber cabs in Bangalore, Bombay, Calcutta, and Hyderabad, we have always paid the amount quoted on the Uber app when making the booking: no more and no less. During a recent visit to Chennai (Madras) in January 2025, we ordered several Uber cabs, and each time experienced the same thing.
The first Uber cab we ordered arrived, and the driver asked us how much we had been quoted. When we told him, he said he would take us only if we paid an amount he mentioned, which was greatly in excess of the fare quoted on the app. On subsequent occasions, we ordered Uber cabs using the app and each time the driver telephoned us before he arrived. Each driver wanted to know the price of the fare on the app. And each time we told the driver the amount, he replied that he would only pick us up if we agreed to pay the higher fare he quoted. We were most surprised by this, but a friend in Chennai seemed to think that there was nothing unusual about what we were experiencing.
I suppose the Uber drivers in Chennai are charging a surcharge to cover what the Uber company deducts from them as a commission.
JUST IN CASE you are tempted to see them, here are two events in London, which I found disappointing. One of them is the Silk Roads exhibition at the British Museum. It was crowded, insubstantial, and resembled a badly lit antiques fair.
The other is the film “The Brutalist”. It is over three hours long, but that is not what irritated me. It was a gratuitous, self-indulgent, uninteresting ‘mish-mash’ of irrelevant story-telling. The only mitigating aspect of this film was the actor Adrien Brody, but I felt sorry that his talents were expended on such a pointless film.
On a positive note, I can strongly recommend viewing the excellent exhibition of Picasso’s prints at the British Museum.
THOMAS BABINGTON MACAULAY (1800-1859) was a genius, a reformer, a historian, an impressive and persuasive orator, a voracious reader, and a politician (Whig party). He was actively involved in abolishing the slave trade, emancipating the Roman Catholics and the Jewish people in Britain, and extending the right to vote. Yet despite his liberal views and actions, he was what many people might consider ‘politically incorrect’ by today’s standards. For example, even though he promoted the rights of Jewish people, he was quite anti-Semitic. As far as voting was concerned, he wanted to expand the electorate but only to those whose education was above a certain standard.
Macaulay spent several years in India, working for the East India Company and the British Government. He was disdainful of the long tradition of Hindu literature, customs, and knowledge. He felt that the way forward for the Indian Subcontinent lay in providing the Indians with what he considered to be the superior knowledge of Western (European) science, philosophy, and other aspects of life. To this end, he encouraged the teaching of English to Indians so that they could ‘enjoy’ the benefits of Western ‘civilisation’.. It is largely due to his efforts in promoting teaching of English, and other subjects in English, that today English is a flourishing language ( a ‘lingua franca’) in India and other parts of the Subcontinent..
An Indian academic Zareer Masani (1947-2024) has written a superbly detailed biography of Macaulay. Called “Macaulay”, this biography skilfully recounts the life of this fascinating man. It is a scholarly but highly readable account of a brilliant man who achieved a great deal and whose life was not free of contradictory traits. With regard to Macaulay’s encouragement of the use of English in India, Masani wrote that Macaulay was much admired by BR Ambedkar, who was born a Dalit and worked to improve the lot of Dalits. He was also the author of the Constitution of Independent India. Ambedkar, who admired Macaulay, benefitted from Macaulay’s encouragement of Western education as opposed to the revival of Indian nationalist traditions. Without Western education, which Macaulay insisted was to be made available to all Indians regardless of their religion or caste, BR Ambedkar, coming from humble background, might never have had the excellent educational opportunities he enjoyed.
I can strongly recommend this book. It was a joy to read.
yamey 