Blackpaint 371 – Cezanne’s Skull and the Gamekeeper’s Moustache


Bloomberg New Contemporaries

I know I did this ICA exhibition last time, but didn’t give any names of the artists – going to put that right now.  The “strolling” video (glamorous Japanese(?) women strolling in a mannered way around gardens and statuary) is by Tony Law.  The squares with diagonal cross inside, black on white canvas – the ones a bit like Bram van Velde – are by Jack Brindley.  He also has a sculpture made of a bent metal rod, like a very thick aerial; doesn’t sound much, but it’s good, I think.  The blurry paintings on unbleached linen are by Emanuel Rohss – one of them looks like a sinister head and shoulders figure now, maybe a comic superhero covered in leaves….

Jennifer Bailey did the acid green, triangular, Varda Caivano – like paintings, and Suki Seokycong Kang did the loopy, Twombly-Wool grey and pink painting.  Finally, Nicole Morris did the video in which a woman model tries out poses against a background of blue partitions.

A couple of exhibits I didn’t mention last time:  there is a video on a TV showing a series of clips, repeated a defined number of times each.  A young man in a swimming pool jumps onto the back of another, while someone’s midriff passes the camera; a host introduces a singer on stage; a woman sings a song from “Evita”; a parrot squawks; all these repeated a number of times.  I think the point is that repetition creates integrity, or “establishment” in some way.  The repetition acts as a sort of frame, starting and cutting off the sequence at given points and establishing a sort of completeness.  Think of repetition in music, the idea of a “riff” in jazz.  Yes, it might drive you mad of course – but I find the idea interesting.  The video is the work of Piotr Krzymowsky.  Finally, there is a huge linen, covered by a spidery dark blue and burnt orange expressionist pattern by Max Ruf.

National Gallery

Spent two hours there the other day.  I think I saw everything – five things stuck with me in particular: Samson’s huge left shoulder and arm in Ruben’s painting and that dark crimson robe; the executioner’s snappy white and blue(?) striped tights in the Master of Kappenburg’s painting; the fantastic Degas paintings in the first of the Impressionist rooms, the black outlining of the hands – is it good or bad, I can’t decide; the Cezanne self -portrait, in which the colours on the bald skull of the painter  echo those on the rocks of the landscape by the same painter, a few feet away; and that lovely wet Paris street at night by Pisarro.  And the Titians and Raphaels and Tintorettos… I still don’t think the Manchester Madonna and the other unfinished one look much like Michelangelos, however.

La Regle du Jeu

Started watching this creaky film out of sense of duty – often cited as one of the greatest ever – and after a few minutes, totally hooked.  The shooting party scenes I only realised were a metaphor for the spread of Fascism when I watched the commentary, I’m sorry to say.  What it reminded me of , more than anything, was “L’Age d’Or”.  the country house setting, the madcap entertainments, or course, but above all, Schumacher the gamekeeper, with the moustache and glaring eye.  When I looked it up – yes, same guy, who played “the Man” in L’Age d’Or nine years earlier.

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Saint’s Head, Man’s Back

Blackpaint

13th December 2012

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