Posts Tagged ‘A Separation’

Blackpaint 459 – Martial, Andre and Oscar at the Pompidou

August 22, 2014

Martial Raysse at the Pompidou Centre

I’d never heard of this artist until now; I suppose he’s a sort of Richard Hamilton – pop art, ideas man, always changing, cutting edge.  His early stuff is a combination of the matt face portraits along the lines of Warhol, often combined with neon bits (see below).  He also did a lot of neon sculptures;   A painting with the corner missing, replaced with a piece of neon that makes a corner frame.  the colours are vivid, the pictures striking and witty.

Then, paintings with additions, such as a set of antlers, becoming more extensive, until at least half sculpture – Stella, or maybe Bill Woodrow.

raysse2

raysse3

Later, he did massive canvases, peopled by partying mobs of strange, incongruous people in bright, almost painfully bright colours.  This phase reminds me of the sort of paintings that appeared in the recent Saatchi exhibition; strange groups doing strange, suggestive things (see previous Blackpaint).  A completely bonkers short film called “Jesus Cola”, in which a professor is a sort of quiz contestant, answering questions, usually with an emphatic “NON!”  Cut to youths playing at cowboys, one “shooting” all the others with a toy pistol, to what sounded like Dylan’s “Oxford Town” speeded up to the Nth degree.

raysse4

Some ceramics, mobiles made from clothes pegs etc., like sinister charms hung from trees in “Blair Witch” or “True Detective” and the odd painting of banal, everyday articles like the basket of fruit above.  And then the stranger and stranger ensemble paintings in vile colours.

He’s the most expensive French living artist, apparently; a real find for me.

Pompidou permanent collection

Some real beauties in the permanent collection –   my favourites are:

Andre Kertesz photos of New York

kertesz1

That’s a pigeon taking off.

kertesz2

Reminds me of Brueghel.

Marc Chagall’s bride and groom.

chagall pomp

Asger Jorn (of course)

jorn pomp

 

Karel Appel (of course)

appel pomp

 

And this fantastic portrait of Brancusi by Kokoschka.

kok pomp

 

OK, enough Pompidou for now; more next blog.

A Separation (cont.)

I was halfway through when I wrote about this film last week; it got even better in the second half, with a potential murder accusation (of an unborn child, under Iranian law).  Ended inconclusively, I think without a taking of sides; could be wrong though – I’d need a rigorous feminist analysis to be sure.

Like Someone in Love

Kiarostami film, set in Japan, concerning an odd triangle of young student/prostitute, elderly professor/client and boyfriend/mechanic/thug.  The last is unaware of his girlfriend’s job; the film concerns the attempts of the girl and the client to keep it that way.  Like “a Separation”, it ends inconclusively – but no other similarities, apart from the nationality of the directors.

The tone of the film is indeterminate; at times, I thought I was watching a gentle comedy – the elderly client is a benign grandfatherly type, who only wants company for dinner and someone to listen to Ella Fitzgerald with him.  He eschews the opportunity to sleep with the girl.   Then it gets darker as he loses control of the situation with the boyfriend.

The night scenes from a taxi in the Japanese city – Tokyo? – are beautifully photographed but it’s not breathtaking, like “The Wind Will Carry Us”, for example; the only other Kiarostami film I know.  Reminded me of “I’m in the Mood for Love”, maybe, but probably its just the use of a torch song title.

 

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Theory Split 2

 

 

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Theory Split 2 

Blackpaint, 22.08.14

 

 

 

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Blackpaint 458 – Braque, Yoko and Johnny at Bilbao

August 15, 2014

Braque at the Guggenheim, Bilbao

First, a full-size ballet stage set; very rough-cut “curtains and crooked arches, roughly-painted houses, windows of a “working class section” of an Italian town – I didn’t record the name of the ballet. Quite strong resemblance to a de Chirico.

Next, his Fauvist pictures.  One or two look like the Soutine paintings at the Ashmolean exhibition, but without the Expressionist writhing intensity.

Early Cubist stuff – guitars, mandolins, Sacre-Coueur, a port scene – very familiar and formulaic, they appear to my jaded eyes; the usual greys and browns.  Then, the ones that Patrick Heron “borrowed”, only done about thirty years earlier – white outlines round black lines, black, brown, blue, green, yellow, flowers, jugs, interiors.

One beautiful, dark salmon-based one with sand mixed into the paint, looking great from a distance.  Ditto the pink tablecloth one.

braque red tablecloth

I wasn’t keen on the silhouettes of women at card tables, against large lemon-green patches.

Several of the paintings are on black, brown or maybe navy blue backgrounds; the best is the Packing Case.

braque the packing case

Then, there is the Billiard Table, with mysterious white lines binding it, or in which it appears suspended.

braque billiard table

There is a tiny “Basket of Fruit” that looks just like a Winifred Nicholson.  Lots of masks and fishes (black, red, spotted), newsprint, Picasso -like skulls and women – one, greeny yellow with a huge single breast rising from her stomach.

There are some statuesque, brawny women, reminiscent of those Matisse reliefs, with stylised brown breasts and a repeated stomach design like an X ray of the kidneys.

The final room has a series of tiny landscapes, several of which had a touch of Van Gogh – stormy skies, “V” shaped birds.  They (the paintings) are narrow and stretched, as if through the viewing slot of a bird hide.  Interesting that de Stael apparently loved these; I can only think it was the stripe layers that resemble his own late sea and harbour scapes (see last blog).  The last painting is very like Van Gogh’s crows over the cornfield, but with a big, black plough lying detached and still in the foreground.  Suddenly reminded me of the Lanyon sketches on paper, displayed at Gimpel Fils recently and reviewed elsewhere in this blog.

A brilliant show; I’m looking forward to trying painting on dark backgrounds.

Yoko Ono at Bilbao

Most of the stuff on show here is the same or similar to the Serpentine Gallery show reviewed a while back in this blog – the stepladder and magnifying glass, photos of the clothes cutting happenings around the world, a series of bottles of water, each labelled with a famous person’s name; a couple of condoms, half filled with water (I presume) and suspended; a joky room with a huge magnet attached to one wall, pulling kitchen furniture and implements off kilter; a load of furniture sawn in half.

yoko furniture

 

There is, however, a wall of meticulous ink drawings, done with thousands of dots, of intricate abstract geometric shapes, showing real skill.  That was a surprise to me (not the skill, but the anomaly of the drawings amongst the conceptual stuff).

yoko drawing

De Stael

At the Le Havre exhibition (see last blog) I got a DVD about the painter which is in French.  I can just about understand most of it, but was intrigued that they kept returning to the same picture, the giant one reproduced below.  It turns out it was the one he was working on when he killed himself.

de stael the grand concert

 

A Separation 

Riveting Iranian film, directed by Ashgar Farhadi in 2011; I’m still halfway through, but  it concerns the trials of a man and his daughter trying to get help to look after his father, who is suffering from Alzheimer’s, and the crises that arise from this in their lives and that of the pregnant woman they hire.  Not a happy film, but compelling, I suppose, is the word I’d go for.

Johnny Winter

Saddened to read of the death of this blues colossus the other week; the only way to negotiate the Scalextrix – style motorways before Bilbao is to put on Winter’s “Scorching Blues” and join in the mayhem to the appropriate sounds.

“…So much shit in Texas,

Bound to step in some”

(Dallas)

Next blog: Pompidou Centre and Martial Reysse.

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Blackpaint

15.08.14