An Enquiring Mind

blahnik

 

People who know me well, or even not so well, would be surprised to learn that I greatly enjoyed an exhibition of designer footwear.

The designer is Manolo Blahnik (born 1942 in Santa Cruz de la Palma, Spain), whose father was Czech and mother Spanish. His rapid rise to fame in the field of footwear design began in the early 1970s. 

The exhibition called “An Enquiring Mind” is being held at the Wallace Collection in London until the 1st of September 2019 and should not be missed.

According to a leaflet about the exhibition, Blahnik has been long inspired by the  collection of diverse fine artworks (paintings, sculpture, furniture, porcelain, armour, etc.) on display in the rooms of the Wallace Collection. The shoes he designs, especially those on display at the exhibition, reflect the artistic finesse and skillfulness of the Collection’s permanent works.

The footwear in the temporary exhibition is tastefully arranged amongst the Wallace Collection’s artworks. If one dd not know that the shoes were designed and  made in the last 50 years or less, you would believe that they came from  earlier eras when most of the Collection’s artworks were created. The shoes mingle harmoniously with creations made several hundreds of years earlier. Not only that, but also they are displayed very artistically, making the temporary exhibition a joy to the viewer.

So, even if you, like me, are put off by the idea of an exhibition of shoes, please try to make it to this superb exhibition.

A surprising place

F48 Folkestone Habour Station

 

After getting off the train at Folkestone Central station in Kent, you might wonder why you had bothered to travel there. The way from the station to the town centre is far from preposessing.

Until 2001, trains used to run along a branch-line through the centre of Folkestone along its pier to Folkestone Harbour Station, where passengers could embark on one of the many regular cross-Channel ferries shuttling between Britain and France. Between 2001 and 2009, special tour trains like the Simplon-Orient Express  used the station. In 2014, the line was closed. With the opening of the Channel Tunnel and the closure of Folkestone Harbour Station and the line leading to it, Folkestone declined in importance. Knowing this, I expected the town to be very depressing, but a recent visit proved me to be completely wrong.

You might be wondering what prompted us to visit this formerly important  seaport. What caught our eyes was an article about how Folkestone has become a town of art filled with open-air sculptures and other artworks. It has what one of its publicity brochures describes as “The UK’s largest urban contemporary art exhibition“. And, most of the art on display is permanently resident in the town. The works are by a large range of artists including,amongst the better-known: Yoko Ono, Tracy Emin, Cornelia Parker, and Antony Gormley. The artworks are to be found in locations all over the town, but are in their greatest concentrations within the picturesque historic centre and along the attractive sea front.

The long pier along which trains used to run and the disused platforms of Folkestone Harbour Station (see illustration) have been beautifully restored and have become a wonderful leisure area with lovely walkways, artworks, and a variety of refreshment stalls. The restoration has been done very sensitively and beautifully. 

The centre of Folkestone is, unlike the area surrounding it, full of life and ‘buzz’. There are many art galleries and eateries as well as a contemporary art centre, the Folkestone Quarterhouse. The Quarterhouse is well worth entering if only to see Ben Allen’s spectacular The Clearing (an architectural installation that has to be seen to be believed) on the building’s first floor.

What we particularly liked about Folkestone is that despite being chock-full of art, it does not feel pretentious. It is a place that people can enjoy the joys of the seaside (nice beaches and fine sea front) as well as, if you feel in the mood, the delights of contemporary art in charming settings. We spent about six hours in Folkestone. Next visit, we will stay there for a couple of nights.

Much more information available here: 

https://www.creativefolkestone.org.uk/folkestoneartworks/

Sharing photos

butterfly

 

I was given my first camera, a Kodak Brownie’, when I was about 7 years old. Since that time I have owned a variety of cameras and camera ‘phones and I have taken many thousands of pictures. 

In the early days, I used to have prints made from negatives. Later, I became converted to colour slide (‘diapositive’) film and produced many colour slides. With the arrival of computers and the Internet into my life, I reverted to film that produced prints and when it became available, I had digital images of my photographs put on compact discs. Nowadays, I hardly ever have prints made from my digital images.

Ever since I first began taking photos, I have enjoyed showing them to other people: relatives, friends, colleagues, and whoever else showed even the tiniest bit of interest. However, when you present people with an album full of photographs or arrange a slide projection session, most folk begin to lose interest fairly fast. Many of them have agreed to look at someone’s pictures mainly out of politeness, rather than genuine interest.

All of that has changed with the advent of social media and Internet sites for displaying photographs. People need only look at pictures when they are interested and for as long as they want without risking offence to the photographer. Often, if they want to, viewers can express their approval and/or make comments. What is more, the viewers need no longer be confined to the friends and acquaintances of the creator of the images. It is possible to make images available to everyone, who uses the Internet. Some may not be happy with that, but I am. My desire to ‘show off’ my pictures to as many people as possible has been fulfilled!

I find that apart from sites like Facebook, the website ipernity.com is a superb place to post pictures. Other users of the site are often both appreciative and helpful with their comments and suggestions. My Ipernity page is http://www.ipernity.com/home/adam 

PLEASE TAKE A LOOK!

Art on the road

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.

Tired

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.

Burne-Jones in London

Until 24th February 2019, there is an excellent exhibition of the works of the Pre-Raphaelite artist Edward Burne-Jones (1833-98) at London’s Tate Britain.

BURNE 1

 

For Victorian art  

looking back to the past

Burne-Jones does excel

 

BURNE 2

African Art Fair 2018

AFR 2

“The Contemporary African Art Fair (1 – 54)” is held annually at London’s Somerset House. This year it was a very exciting show full of vibrant, creative artworks mainly, but not exclusively, created by Africans with little or no European ancestry.

AFR 4

Many of the works use recycled waste materials such as bits of paper, engine parts, spent bullets and retired armaments, electronic components, and so on. Almost every art work is a fine aesthetic object when seen as a whole. Looking into any of these works in detail is like beginning to explore Africa, its troubled past and challenging present.

AFR 1

Africa is beginning to emerge from its colonial past. Africans are taking control of their destinies. Yet, at this exhibition, which is where a series of galleries display thier wares, mot of the dealers, who earn considerable commissions are ‘White’ Europeans. Maybe colonialism is not quite dead yet!

AFR 3

The tests of time and taste

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Is it fair to juxtapose works of modern or contemporary art with great masterpieces, which have stood the test of time?

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We were fortunate to have been given (by our daughter) complimentary tickets to the 2018 Frieze Masters exhibition held in Regents Park. It is part of a larger art fair, Frieze, held in London annually.

CONTR 4 Lowry

The Frieze Masters show contains stalls set up by art dealers, displaying only works made no later than the year 2000 AD. I must admit that I was expecting to see works of art only made during the 19th and 20th centuries. To my great delight, the artworks on display were made anytime between ancient times (several centuries BC) and 2000 AD.

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Although the more recently made (i.e. 20th century) artworks are of the highest quality, they are often on display close to artworks made many centuries earlier. Some of the gallery stalls contain a mix of modern art and much older works. Placing some 20th century works (e.g. Calder) near to older classical works (e.g. Brueghel and Cranach) is not fair to the newer works.

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The older artworks, which have stood the test of time and satisfied the tastes of many generations of viewers, make the nearby contemporary works seem weak in comparison. This is not always the case. Some small sculptures by Barbara Hepworth seemed very comfortable next to their far more venerable neighbours. Also, to my surprise some ancient classical carvings stood harmoniously close to some abstract art works made in the second half of the 20th century.

CONTR 1 Calder

The older works of art on display have been treasured for many centuries. Probably, what we see today is the best of what was produced long ago. Even at the time when they were made, their excellence must have been obvious when seen beside other works, now lost and long-forgotten, which were created at the same time.

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I question how many of the more recent (19th and, especially, 20th century) works of art, which I saw at Frieze Masters, will still attract both interest and high prices in, say, fifty or a hundred years’ time. And, I also ask myself how many of the newer works will be able to evoke the feelings of aesthetic wonder that, say, a Brueghel or a Cycladic sculpture have been able to do for so many centuries.  

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