Blackpaint 344 – Last Tango from Bela


Bela Tarr

I read in the Guardian that he is retiring to teach at a film school.  Terrible news – no more rain, mud, pigs and palinka, displaced peasants… 

Fred and Ginger

I’ve been watching the old Astaire Rodgers films again – Top Hat, Swing Time, Follow the Fleet – and ending up with a stupid smile at every breathtaking dance number; I find this is perfect to alternate with Tarr films, on the old 30 mins of Astaire-Rodgers, followed by 30 mins of Satantango or Damnation principle – they complement each other perfectly (as of course do Fred and Ginger).

Ed Burtynsky at the Photographers Gallery

The exhibition is titled “Oil”.  Huge, Gursky-ish photographs; spaghetti junctions, vast Volkswagen lots, thousands of Harley bikes at Sturgis, N.Dakota (where there’s a bikers’ convention): nodding donkeys flung higgledy-piggledy across the landscape in Baku, Azerbaijan; same hardware but neatly set out in California and Canada.  Shipbreaking in Chittagong – monolithic, black “walls” of iron, dwarfed workers posing; a Philadelphia truck-stop complex, Exxon and Big Mac signs; a beautiful, painterly interior of a refinery, shining, chromed pipes; oil spill in the Gulf of Mexico.  In one of these photos, tiny ships spraying foam (?), the surface of the sea just like coal, as if looking at a glistening, wrinkled, solid coal wall in a mine.

Art and the State

One thing that can be said for Damien Hirst is that (so far as I know) he has not participated in any of the Olympic or Jubilee nonsense currently engulfing the UK.  Could be wrong about this – please comment if I am.  Anyway, the sight of a collection of artists, actors and various other performers, in their posh clothes, at a reception for the Queen at the Royal Academy was bizarre and faintly nauseating.  They looked, for the most part, deeply embarrassed – some, notably David Hockney, pulling faces that made them look demented.  Maureen Lipman, interviewed by Will Gompertz, acquitted herself well; she said she had no idea why they were all there and then qualified this by opining that it was all about money and networking.  Gompertz and the odious George Alagiah “back in the studio”  (Morrissey is right about him “acting out” the news) feigned amusement – the interview disappeared and a more conventional few sentences from Charlotte Rampling substituted on later airings of the story.  Well done, Maureen; disappointing, Charlotte. 

Jonathan Jones on Hirst

Something I left out when discussing Jones’ excoriating review of Hirst last week, was his side-swipe at “whimsical abstraction”.  I assume that this is the process of producing abstract work without a coherent ideological frame of reference.  If so, my improvised paintings clearly fit the bill, so I must thank Jones for supplying me with a convenient label.  Latest whimsical abstraction below.

Blackpaint

31/05/12

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